•  fii**. 


THE 


Studios 


OF 


EUROPE. 


BY 


H.  BADEN  PRITCHARD,  F.C.S., 

Late  Honorary  Secretary  of  the  Photographic  Society  of  Great  Britain, 
and  Editor  of  the  ( London )  Photographic  News. 


AUTHORIZED  AMERICAN  EDITION. 


NEW  YORK : 
E.  &  H.  T.  ANTHONY  &  CO.,  NO.  591  BROADWAY. 


1882, 


THE 


INTRODUCTION. 


The  practical  worker  is  very  seldom  a  writer.  He  not  only- 
lacks  time  and  opportunity  to  record  his  experiences,  but  gene- 
rally underrates  their  value,  and  does  not  think  them  worth 
recording.  This  fact  comes  home  very  forcibly  to  those  con- 
nected with  photographic  journalism,  and  to  it  is  due  the 
contents  of  this  volume.  Having  found  again  and  again  the 
practice  of  photographers  so  different  to  the  teachings  of  text- 
books and  periodicals,  we  resolved  upon  a  house-to-house  visita- 
tion among  the  principal  studios  of  Europe,  determined  to  write 
down  great  things  and  small  alike,  as  they  came  under  our 
observation,  and  so  produce1  a  record  of  practice.  At  first,  we 
feared  that  friends  on  whom  we  called  might  possibly  resent 
our  visit,  and  for  this  reason  we  made  it  a  rule  to  intimate 
straightway  that  "  if  you  have  anything  you  desire  to  keep  secret, 
do  not  mention  it,  and  it  will  not  get  into  print ; "  but  we  may 
say  at  once  that  the  caution  was  never  taken  seriously,  and  we 
did  not  once  fail  to  get  a  straightforward  answer  to  any  of  our 
questions. 

Our  object  in  compiling  this  book  has  been  two-fold  :  to  pro- 
duce a  readable  volume,  and  at  the  same  time  to  afford  practical 
information.  It  is  not  for  an  author  to  say  how  his  book  shall 
be  read,  but  if  we  might  offer  a  suggestion,  it  is  that  our 
"Studios"  may  be  perused  as  they  stand,  first  of  all;  and 
it  is  with  this  view  that  we  have  adopted  a  lighter  and  more 
colloquial  style  than  that  usually  to  be  found  in  handbooks. 
The  reader  will  thus  obtain  a  general  view  of  the  contents,  and 
when  he  desires  afterwards  to  refer  to  the  practice  of  different 


4 


INTRODUCTION. 


men  in  different  operations,  the  information  is  readily  fonnd  by 
reference  to  this  introductory  chapter.  As  he  will  perceive,  we 
have  tabulated  the  information  under  nine  headings,  to  wit, 
the  Reception  Room,  the  Studio,  the  Dakk  Room,  Appaeatus,. 
Processes,  the  Negative,  Mountants,  Residues,  and  Miscel- 
laneous ;  and  we  have  further  placed  the  name  of  the  photo- 
grapher against  the  number  of  the  page,  so  that  our  reader  can 
refer  to  the  practice  of  one  authority  or  the  other  as  he  pleases. 

Let  us  suppose  the  reader  desires  to  learn  something  of  collo- 
type or  Lictitdruck  printing.  Under  the  heading  of  Processes, 
and  Printing,  Collotype,  he  will  find  the  names  of  the 
authorities  given,  together  with  the  pages  where  the  information 
is  to  be  found.  Here  are  not  only  all  the  formulae  and  the 
manipulations  involved,  but  they  are  the  formulae  and  manipula- 
tions actually  made  use  of  by  the  chief  authorities,  and  which 
have  been  found  by  experience  to  be  the  best.  The  whole- 
practice,  as  we  have  personally  viewed  it  in  the  studios  of  such 
men  as  Obernetter,  Albert,  and  Lowy,  is  put  before  the  reader  as 
plainly  and  concisely  as  it  is  in  our  power  to  do.  Or,  take  a 
more  simple  subject,  that  of  mounting.  In  five  minutes  the 
reader  may  refer  to  the  practice  of  half  a  dozen  of  the  chief 
ateliers  in  Europe,  and  adopt  either  one  or  other  of  the  modes  of 
working  as  pleases  him  best. 

We  are  well  aware  that  our  work  is  incomplete.  The  alterna- 
tive was  before  us  of  postponing  the  publication  of  this  volume 
until  the  series  of  representative  studios  was  more  perfect,  or 
publishing  forthwith  such  information  as  we  had  gathered 
together  during  the  past  two  years.  ¥e  decided  upon  the  latter 
course,  for  the  reason  that  our  writings  already  fill  one  goodly 
volume,  and  that  some  little  time  may  elapse  before  we  have  an 
opportunity  of  visiting  Russia  and  Southern  Italy,  where  several 
studios  of  note  are  to  be  found.  In  our  next  edition  of  the 
" Studios  of  Europe"  we  hope  to  include  a  description  of  these 
and  several  others ;  but  as  it  is,  we  do  not  think  our  readers  will 
complain  of  lack  of  enterprise.  Where  a  studio  of  special 
interest  was  to  be  found,  we  have  permitted  no  difficulties  to 
stand  in  the  way  of  seeing  it.  Whether  the  establishment  was 
within  the  span  of  a  London  cab-drive,  or  beyond  the  reach  of 
railways,  we  have  visited  it,  if  it  were  worth  visiting,  and  the 
fact  that  a  distance  of  something  like  fifteen  hundred  miles  lies 
between  Messrs.  Valentine's  studio  at  Dundee,  and  that  of  Herr 


INTRODUCTION. 


5 


Koller  in  Pesth,  is  proof  sufficient  that  our  information  was  not 
obtained  without  some  labour  and  fatigue. 

We  have  pointed  out  that  it  was  with  a  view  to  watch  photo- 
graphers at  work  that  we  undertook  these  practical  essays ;  but 
we  are  in  hope  the  professional  photographer  will  be  able  to 
make  use  of  our  volume,  beyond  learning  of  the  formulae  and 
manipulations  of  successful  men.  The  arrangements  of  the 
reception-room — the  rules  and  regulations  in  vogue  with 
sitters — the  prices  charged  for  portraits — the  sending  out  of 
proofs,  and  matters  that  concern  the  business  of  the  photo- 
grapher generally,  have  received  particular  attention,  and  we 
cannot  but  think  that  many  will  derive  useful  hints  from  the 
information  thus  brought  together.  As  to  the  construction  of 
the  studio  and  dark-room,  we  have  noted  points  from  which 
many  cannot  fail  to  profit,  and  those  engaged  in  building  a  new 
studio,  or  in  re-arranging  an  old  one,  should  derive  benefit  from 
our  notes  on  the  subject.  The  good  work  of  the  photographers 
we  speak  of  in  these  pages  will  be  known  to  our  readers,  and, 
no  doubt,  the  latter  will  be  able  to  perceive  in  our  account,  now 
and  again,  certain  indications  as  to  the  manner  in  which  this 
good  work  is  obtained.  All  must,  perforce,  learn  something ; 
every  one  who  reads  of  an  improvement  on  his  own  mode  of 
working  will  be  gratified,  no  less  than  those  who,  cognisant 
already  of  what  these  pages  tell  them,  will  be  confirmed 
in  the  proud  knowledge  that  there  is  nothing  other  photo- 
graphers can  teach  them. 

Without  further  preface,  we  set  down  the  contents  of  our 
volume. 

The  Reception  Room. 
Fitting  and  Regulations  of  Reception  Room. — Elliott,  42  ;  Hills,  50  ; 

Robinson,  126  ;  Sarony,  148  ;  Brown,  159  ;  Lafosse,  161  ;  Fergus,  184 ; 

Wane,  187  ;  Libert,  219  ;  Benque,  211  ;  Schaarwachter,  227  ;  Prumm, 

233  ;  Adele,  251. 
Proofs,  Supply  of — Hughes,  133  ;  Slingsby,  143. 

Priqes  of  Portraits. — Downey,  20  ;  Elliott,  43  ;  Hills,  55  ;  Blanchard 
(>1  ;  Van  der  Weyde,  76  ;  Bassano,  80 ;  Mayland,  105 ;  Robinson, 
126;  Mayall,  131;  Hughes,  137;  Slingsby,  143;  Sarony,  147 ;  Brown, 
Barnes,  and  Bell,  156  ;  Midwinter,  176  ;  Fergus,  185  ;  Wane,  191 ; 
Lejeune,  210;  Benque,  211  and  212;  Nadar,  216;  Lie'bert,  220; 
Prumm,  234;  Schaarwachter,  232;  Adele,  252;  Koller,  265  ; 
Albert,  271. 

Club  Portraits. — Taylor,  37  ;  Brown,  Barnes,  and  Bell,  157  ;  Lafosse,  162. 


(3 


« \TRODUCTION. 


Tbe  Studio. 

Apparatus  in  the. — See  Apparatus. 
Assistants,  Fay  of — Nadar,  216. 

Backgrounds,  Screens,  Furniture,  and  Accessories. — Bassano,  82  ;  Elliott, 
44  ;  Hnls,  54  ;  Bassano's  panoramic  background,  82  ;  Window,  83  ; 
RoVison,  125  ;  Slingeby,  144  ;  May  all's  ribbed,  131  ;  Hughes,  136  ; 
Sb'ngsby,  145 ;  Sarony,  149.  Out-doorB,  Lafosse,  162  and  163  ; 
Valentine,  193;  Adam- Salomon,  205  ;  Midw'iter,  177;  Russell,  181  ; 
Lejeune,  210;  Nadar,  216;  Schaarwachter,  229;  Prumm,  235; 
Angerer,  260. 

ConsU  action  and  Lighting  of. — Downey,  20  ;  Blanchard,  61;  Faulkner, 
71  ;  Bassano,  82  ;  Van  der  Weyde,  71  ;  Mayland,  103  ;  Millbank 
Prison,  116;  Pentonville  Prison,  121  ;  Robinson,  124 ;  Mayt'U's  Royal- 
Wedding  Studio,  128;  Mayall,  130;  Hughes,  135;  Slingsby,  144; 
Sarony,  148  ;  Lafosse,  163  ;  Valentine,  193  ;  Annan,  201  ;  Adam- 
Salomon,  205;  Mid*  .liter,  177;  Russell,  180;  Fergus,  186;  Wane, 
188  ;  "Senque,  212  ;  LiCbert,  220 ;  Schaarwachter,  228  ;  Luckhardt, 
238,  and  Glazing,  240;  Adele,250;  Angerer,  259;  Roller,  264. 

Electric  Studio. — Van  der  Weyde,  73;  Swan's  system,  169;  Lie'bert, 
219  ;  Winter,  247. 

Gas  Studio. — Laws,  152. 

Posing,  Exposing,  and  Sitting. — Faulkner's  drapery,  71  ;  Faulkner's 
ch;,dren,  69.  Time  allotted,  Bassano,  82  ;  Mayland's  children,  102  ; 
M;ilbank  Prison,  117  ;  Pentonville  Prison,  122  ;  Lafosse,  163;  Adam- 
Sr'omon,  204.  Out-door  gx-oups,  Lafosse,  162.  Architectural  photo- 
graphy, Barton,  172  ;  Fergus,  185  ;  Wane,  187  ;  Lejeune's  drapery, 
209  ;  Luckhardt's  drapery,  237,  and  Posing,  239. 

The  Dark-room  and  Laboratory. 

The  I)  ark -room. — Abney,  56 ;  Window,  95 :  Valentine,  194  ; 
Annan,  202  ;  Swan,  168  ;  Barton,  174  ;  Lejeune,  210. 

Apparatus. 

Actinometer. — Warnerke's,  108. 

Balloon  Apparatus. — Woodbury,  46. 

Bath,  Silver. — Burton's  horizontal,  32  ;  Barton's,  173. 

Camera  Apparatus. — England's  lens-shade,  15 ;  Faulkner's  children's 
camera,  70 ;  England's  stand,  16  ;  Elliott's  canopy,  44 ;  Bassano's 
shade,  82  ;  Hills'  electric  camera,  52  ;  Blanchard's  copying  camera,  63  ; 
Hills'  universal  dark-slide,  53  ;  Window's  universal  front,  95  ;  May- 
land's  shade,  104 ;  Warnerke's  roller  dark-slide,  106 ;  Mayall's 
lenses,  131  ;  Mayall's  stand,  130 

Cupboard  for  Dry  Plates. — England's,  18. 

Hygrometer. — Woodbury,  50. 

Zens -finder. — Barton's,  173. 

Boiler,  Velvet,  for  photo-lithography,  66. 


INTRODUCTION. 


7 


Screens.—  PrUmm,  235 

Shutters,  Instantaneous. — Bedford's,  13 ;  Valentine,  197. 

Tent. — Barton's,  175. 

Washing  Trays. — Midwinter's,  179. 

Backgrounds,  How  to  Tint. — Robinson,  125. 
Canvas,  Photography  on.— barony,  149  ;  Winter,  246. 
Cartes  EmailUes. — See  Enamelling. 
Cartes  Busses. — Lejeune,  209. 
Coating  Plates  with  Gelatino-bromide. — Sarony,  151. 
Collodion  Making. — Taylor,  41. 
Collodion  Transfers.— Taylor,  37  ;  Hughes,  134,  136. 
Coloured  Photographs.— Woodbury,  46  ;  Roller,  265  ;  Albert,  271. 
Copying. — See  Enlarging  and  Beproducing. 
Enamelling  Cards. — Lie'bert,  221 ;  Adam-Salomon,  207. 
Electric-light  Photography. — Van  der  Weyde,  73;  Swan,  169;  Liebert, 
219 ;  Winter,  247. 

Enlarging  and  Beproducing. — Blanchard,  63;  Jennings,  26.  Taylor's 
collodion  transfers,  37;  Window,  247;  Brown,  161;  Annan,  201  ; 
Benque,  213  ;  Schaarwachter,  230  ;  Winter,  247 ;  Angerer,  261 ; 
Obernetter,  275. 

Gaslight  Photography. — Laws,  152. 

Glass    Plates,    Cleaning. — Obernetter,    265;  albumenizing,  Schaar- 
wachter, 230. 
Lichtdruch. — See  Printing,  Collotype. 
Mounting  and  Mountants. — See  Mountants. 
Opal  Pictures. — Blanchard,  61 ;  Sawyer,  34  ;  Hills,  51. 
Pigment  Printing. — See  Printing,  Carbon. 

Powder  or  Dusting -on  Process. — Blanchard's  for  opals,  61;  Obernetter's 
graphite,  275. 

Printing,  Carbon. — Autotype,  33,  35 ;  Window,  96.    Making  Autotype 

tissues,  30.    Transparencies  at  Autotype  Company,  31  ;  Jennings,  26. 

Faulkner's  red  chalk,  69.    Opal,  Sawyer's,  34 ;  Hughes,  133,  136 ; 

Angerer,  261  ;  Greruzet's  manipulations,  277. 
Printing,  Collotype. — Lowy,  254.    Working  manipulations  and  formulae, 

Lowy,  255.    Schnellpress,  Albert,  268  ;  Obernetter,  272.  Sternpress, 

Obernetter,  273. 

Printing,  Photo-lithographic. — At  Woolwich,  64.  Preparation  of  sensi- 
tized paper,  66.    Transfer  ink,  68. 

Printing,  Phototype  (printing  press  blocks),  110.  Camera  work,  111. 
Inking  and  transferring,  113.    Etching,  113  ;  Brown,  158. 

Printing  Platinotype. — At  Platinotype  Co.,  76, 


8 


INTRODUCTION. 


Printing,  Silver. — Preparation  of  albumenized  paper,  England,  16. 
Sensitizing  of  albumenized  paper,  Bedford,  12 ;  England,  16  ; 
Jennings,  25,  27  ;  Taylor,  40  ;  Valentine,  195. — Printing  of  albumen- 
ized paper,  blisters  prevented,  Taylor,  41.  Cracked  negatives  at 
Mayall's,  129;  Sarony,  150.  Ditto,  vignetting,  151;  Lafosse,  162; 
Valentine,  194;  Wane,  191;  Schaarwachter,  231;  Priimm,  234  ; 
Albert,  270. — Toning  of  albumenized  paper,  Jennings,  28  ;  Bro\»  i, 
160.— Fixing  of  albumenized  paper,  Jennings,  25,  29. — WasFng  of 
albumenized  paper,  Bedford,  11  ;  England,  17  ;  Jennings,  25 : 
Taylor,  41. — Slate  troughs,  Brown,  160;  Valentine,  194;  Wane, 
189.— Printing  skies,  Bedford,  13. 

Printing  Type  on  Glass. — Warnerke,  109. 

Printing,     Woodbury  type. — Woodbury's  modified,    47  ;  Woodbury's 
filigrain,  49,  157.    Printing  of  gelatine  matrix,  97.    Pressing  lead 
plates,  98.    Printing,  100.    Transparencies,  101. 
Residues,  Recovering  .—^zq  Residues. 
Retouching  Negatives.  —  See  Negatives. 
Negatives. 

Cracked  Negatives,  Printing. — Mayall,  129 ;  Sarony,  150. 

Gelatine  Negatives,  Development  of. — Window,  94  ;  Swan,  167  ; 
Benque,  212;  ditto,  test  of  sensitiveness,  Swan,  167  ;  test  of  composi- 
tion, Swan,  166  ;  ditto,  choice  of  materia),  Warnerke,  109  ;  Gelatino- 
chloride,  Eder,  244. 

Intensifying,  wet  process  for  photo-lithography,  64. 

Retouching. — Bassano,  82  ;  Mayland,  104 ;  Lafosse,  164 ;  Valentine,  194  ; 
Luckardt,  241  ;  Adele,  253. 

Storage  o/.— England,  17;  Downey,  22  ;  Elliott,  45. 

Varnish. — England,  17;  Lafosse,  163  ;  Luckardt,  retouching,  241. 

MOUNTANTS. 

Mounting  and  Mounting  Materials. — England,  18  ;  Valentine,  197  ; 
Adam-Salomon,  207  ;  Russell,  182 ;  Barton,  174 ;  Wane,  189 ; 
Benque,  213  ;  Liebert,  218. 

Residues. 

Recovering  Residues. — Bedford,  12;  Valentine,  196. 
Miscellaneous. 


STUDIOS    IN  LONDON. 


 »  ' 

ME.  FEANCIS  BEDFOED  AT  CAMDEN  EOAD. 

Twenty  years  ago,  shortly  after  the  death  of  the  Prince 
Consort,  his  Royal  Highness  the  Prince  of  "Wales  started  on  a 
journey  to  the  Holy  Land.  The  tour  had  been  projected 
by  Prince  Albert,  who  traced  it  out  with  much  care  and 
forethought,  the  spots  to  be  visited  being  such  as  he  desired 
to  impress  particularly  upon  his  son's  mind  as  being  likely 
to  educate  and  interest  the  future  King  of  England;  and 
after  her  husband's  death,  her  Majesty  .did  not  hesitate 
to  carry  out  the  project.  The  party  selected  to  accompany 
the  Prince  was  small,  but  well  chosen.  It  included  General 
Bruce,  who  was  to  be  a  sort  of  commander-in-chief  of  the 
party,  Colonel  Teesdale,  Colonel  Keppell,  the  Hon.  Eobert 
Meade,  a  college  friend  of  the  Prince,  a  physician  in  the 
person  of  Dr.  Minter,  and  Dr.  Stanley,  the  late  Dean  of 
"Westminster.  As  this  modern  crusade  was  on  the  eve  of 
starting,  there  came  a  hasty  command  from  Osborne  decree- 
ing a  further  addition  to  the  party;  Mr.  Francis  Bedford 
was  sent  for  by  the  Queen,  and,  after  a  few  preliminaries, 
was  introduced  to  the  Prince  of  Wales  as  an  extra  travelling 
companion. 

It  is  pleasant,  even  after  this  lapse  of  time,  to  listen  to  Mr. 
Bedford's  reminiscences  of  this  right  Eoyal  tour.  They 
journeyed  straight  to  the  Mediterranean,  where  H.M.S.  Osborne 


10 


STUDIOS  IN  LONDON. 


was  waiting  to  convey  them  into  the  Levant ;  they  boated  on 
the  Nile,  wandered  over  Palestine  to  Jerusalem,  and  visited  the 
relics  of  the  Holy  Land.  The  young  Prince  was  affability 
itself,  and  the  life  and  soul  of  the  party.  At  Hebron,  the 
Prince  asked  Mr.  Bedford  to  remain  behind  to  take  certain 
'  photographs,  and  insisted  on  our  friend  being  provided  with  a 
guard  of  fifty  soldiers  to  keep  him  and  his  apparatus  from  harm. 
A  series  of  210  plates  were  secured  by  Mr.  Bedford  on  his  tour, 
and  of  these  175  were  subsequently  selected  for  publication,  the 
Prince  good-naturedly  permitting  Mr.  Bedford  to  do  pretty  well 
as  he  pleased  with  them.  But  perhaps  the  best  proof  of  the 
good  terms  on  which  prince  and  photographer  travelled  was 
afforded  some  years  afterwards  at  Pall  Mall,  when  the  Prince  of 
Wales,  busy  inspecting  the  pictures  on  the  wall,  suddenly  turned 
round  and  said,  " But  where  is  Mr.  Bedford?  I  don't  see  Mr. 
Bedford."  That  gentleman,  however,  was  at  the  Prince's  elbow, 
and  the  cordial  manner  in  which  Mr.  Bedford  was  received  at 
once  showed  that  His  Highness  still  remembered  vividly  the 
pleasures  of  the  tour  they  made  in  company. 

The  bright  landscape  pictures  of  Mr.  Francis  Bedford,  and  of 
his  not  less  talented  son,  Mr.  William  Bedford,  require  no  com- 
mendation in  these  columns.  In  the  same  way  as  Mr.  England 
appears  to  enjoy  a  sort  of  monopoly  in  Continental  pictures, 
so  the  Messrs.  Bedford  stand  pre-eminent  in  reproducing  the 
soft  landscapes  and  craggy  headlands  of  our  own  country. 
Here  is  a  trough  a  dozen  feet  long,  in  which  many  hundreds  of 
pictures  of  English  scenery  are  washing,  the  moving  water 
bringing  them  into  view  one  after  another.  The  prints  are 
small,  none  larger  than  whole  plate  size,  and  many  of  them  for 
the  stereoscope  ;  but  they  are  all  alike  in  this  :  they  are  sharp 
and  vivid,  but  so  soft  and  delicate,  withal,  that  they  look  like 
exquisite  engravings.  "  There  is  Exeter  Cathedral,"  we  say, 
"  and  that  is  the  Valley  of  Bocks,  and  that  is  Lynmouth,  with 
its  big  rocks  and  wave-beaten  wall ;  what  a  charming  coast  pic- 
ture !  "  The  last  photograph  is  a  favourite  with  Mr.  Bedford, 
for  it  can  never  be  taken  again ;  they  have  improved  the  place 
and  carried  away  those  big  frowning  rocks  by  the  causeway,  he 
tells  us. 

As  a  large  publisher  of  pictures,  Mr.  Francis  Bedford  has  paid 
great  attention  to  the  question  of  permanency  in  silver  prints. 
He  will  have  nothing  to  do  with  paper  sensitized  out  of  England, 


MR.  FRANCIS  BEDFORD. 


11 


and  he  is  particularly  careful  to  wash  well.  This  is  his  plan : 
after  toning  and  fixing,  the  prints  are  thrown  into  water,  and  an 
assistant,  agitating  them  one  by  one  by  hand  to  free  them  as 
much  as  possible  from  the  hyposulphite,  passes  them  into  a 
series  of  troughs.  Into  the  first  of  this  series  of  troughs  falls  a 
fast  running  stream  of  water,  which  overflows  into  the  second 
trough,  and  from  this  into  the  third,  and  so  on.  The  assistant 
washes  his  prints  up  the  stream,  which  may  be  likened  to  that 
in  the  fable  of  "  The  Wolf  and  the  Lamb,"  progressing  from  one 
trough  to  another  until  the  prints  arrive  at  the  source.  They 
are  now  taken  out  and  put  into  the  large  washing  trough,  where 
they  remain  for  something  like  eighteen  hours.  The  trough  has 
a  false  bottom  of  lattice-work,  on  which  the  prints  rest — if  they 
may  be  said  to  rest  at  all — and  under  this  lattice- work  is  a 
serpentine  tube  through  which,  in  winter  time,  passes  hot  water, 
so  that  the  washing  is  kept  at  a  tepid  temperature.  Like  Mr. 
England,  Mr.  Bedtord  employs  a  little  waterwheel,  but  he 
applies  its  motive  power  differently.  When  this  water-wheel 
revolves,  which  it  does  about  once  a  minute,  from  its  buckets 
becoming  filled,  it  naturally  makes  a  revolution,  and,  so  doing, 
turns  a  crank  ;  this  crank  causes  a  sort  of  flapper  to  work  to  and 
fro  in  the  water,  which  is  thus  vigorously  stirred,  and  agitates  the 
prints.  Moreover,  there  is  a  long  arm  or  lever  in  the  water,  to 
the  end  of  which  is  attached  a  float ;  so  long  as  there  is  plenty 
of  water  the  float  swims  and  the  lever  does  not  act ;  but  should 
the  extreme  end  of  the  lever  sink  for  lack  of  water,  the  other 
end  rises  and  at  once  checks  the  water-wheel,  when  the  supply 
of  water  flows  into  the  trough  uninterruptedly  until  the  float 
(at  the  end  of  the  lever)  rises  again. 

Next  in  importance  to  his  washing  arrangements,  the  plan 
adopted  by  Mr.  Bedford  to  collect  residues  calls  for  notice. 
Not  less  than  75  per  cent,  of  the  silver  expended  in  printing  is 
got  back  again  at  Mr.  Bedford's  establishment,  a  fact  we  would 
impress  upon  our  readers  with  particular  earnestness.  Economy 
is  frequently  pushed  to  the  extreme  in  studios  in  the  matter  of 
purchases,  while  the  saving  of  residues  is  deemed  a  matter  of 
secondary  importance.  Erom  his  hyposulphite  solutions,  Mr. 
Bedford  estimates  that  he  recovers  half  as  much  silver  as  from 
the  first  washing  waters,  a  circumstance,  we  are  sure,  that  will 
cause  surprise  to  many  photographers.  The  plan  adopted  to 
recover  the  silver  from  the  washing  of  prints  is  exceedingly 


12 


STUDIOS  IN  LONDON. 


simple,  effective,  and  very  easily  explained.  Thethree  first  wash- 
waters  are  supposed  to  contain  all  the  silver  salt  that  is  worth 
collecting,  and  these  are  poured  down  a  sink  in  one  corner  of  the 
apartment ;  in  the  next  room  is  a  rubber  tube  connected  with 
this  sink,  and  here,  too,  are  three  big  earthenware  pans,  each  of 
them  of  sixty-gallon  capacity,  embedded  in  sawdust  for  protection 
against  frost  and  injury.  The  rubber  tube  permits  these  pans 
to  be  filled  one  after  another.  When  No.  1  is  full,  hydrochloric 
acid  is  added,  and  the  liquid  permitted  to  stand  ;  No.  2  is  next 
filled,  and  in  its  turn  No.  3.  By  this  time  the  chloride  of  silver 
in  No.  1  has  been  precipitated ;  the  clear  liquid  is  drawn  off, 
and  the  pan,  which  is  pivoted  at  the  bottom,  may  be  relieved  of 
its  precipitate,  or  refilled  with  washings  by  means  of  the  tube. 
The  precipitate  is  filtered  through  flannel,  dried,  and  then  sent 
to  the  refiners ;  the  converting  of  the  mass  again  into  nitrate  is 
wisely  left  to  the  manufacturing  chemist. 

In  the  sensitizing  room  of  Mr.  Bedford's  establishment — 
which,  by  the  way,  is  exceedingly  compact  and  complete — are 
facilities  for  exciting  and  drying  120  sheets  of  paper  at  a  time. 
Four  huge  baths  of  nitrate  of  silver  are  ranged  in  a  row  on  alow 
dresser,  and  by  the  time  an  assistant  has  floated  a  sheet  on  the 
fourth,  the  first  is  ready  to  lift  up  and  put  over  the  drying  rod. 
A  long  trough  upon  wheels  is  placed  under  the  wet  sheets  to 
receive  the  droppings  of  the  precious  liquid,  the  trough  being 
moved  along  as  every  fresh  row  of  sheets  is  added. 

Most  of  the  printing  is  conducted  under  glass,  a  linen  screen 
being  pulled  across  overhead  if  the  sun  begins  to  shine,  for  the 
sashes  above  are  otherwise  found  to  leave  their  mark  on  the 
delicate  pictures.  Every  negative  is  edged  with  black  paint,  for 
the  double  purpose  of  giving  the  prints  a  white  margin — especially 
agreeable  in  the  case  of  unmounted  prints,  and  Mr.  Bedford 
issues  all  in  this  condition — and  to  economise  the  toning  bath. 
The  deep  black  edges  in  an  ordinary  print,  Mr.  Bedford  avows, 
run  away  with  as  much  gold  as  the  picture  itself.  Finally,  the 
painting  of  the  margin  facilitates  the  marking  of  the  negative 
with  its  number. 

The  cracking  of  the  negative  film  is  rarely  seen  now,  and  this 
is  attributed  by  our  host  to  the  circumstance  that  the  collodion  is 
better  than  it  used  to  be.  It  is  the  latter,  and  not  the  varnish, 
that  is  at  fault.  Mr.  Bedford  has  had  negatives  closely  packed 
together,  and  almost  unused,  which  on  unpacking  have  shown 


4 


MR.  FRANCIS  BEDFORD. 


13 


defects  of  this  nature,  while  others  freely  stacked  in  boxes  have 
exhibited  nothing  of  the  kind. 

An  ingenious  method  of  improving  the  skies  in  negatives  and 
softening  the  horizon  line,  and  perhaps  adding  detail  to  a  fore- 
ground, is  adopted  by  Mr.  Bedford.  His  former  plan,  as  many  of 
our  readers  know,  was  to  cover  certain  portions  of  the  negative 
with  tracing-paper,  and  work  with  pencil,  stump,  or  brush  upon 
this.  Tracing-paper,  however,  gets  yellow  and  opaque  in  time, 
and  in  any  case  shows  a  very  decided  outline.  But  by  grinding 
the  reverse  face  of  the  negative — Mr.  Bedford,  like  a  careful 
photographer,  always  employs  patent  plate — by  means  of  a  glass 
muller  and  emery  powder,  a  surface  is  secured  upon  which  work 
of  any  description  can  be  done.  A  few  free  strokes  with  a  brush 
dipped  in  Indian  ink,  or  with  a  pencil,  add  frequently  to  the 
value  of  a  negative,  while  the  mere  grinding  of  the  glass  behind 
the  horizon  line,  whether  sea  or  ridge  of  hills,  tends  to  soften 
this  portion  of  the  plate  considerably.  In  a  word,  there  are  very 
few  photographers  who  take  such  extreme  care  over  their  printing 
as  the  Messrs.  Bedford. 

Mr.  "William  Bedford  has  recently  devised  an  instantaneous 
lens  mount,  which  he  describes  as  a  ball  and  socket  exposing 


valve.  He  says : — "  I  give  a  diagram,  where,  in  order  to  make 
the  arrangement  more  clear,  the  ball-and-socket  are  represented 


u 


STUDIOS  IN  LONDON. 


in  perspective  inserted  in  a  cross  section  of  the  lens.  Although 
I  have  not  yet  practically  worked  out  this  design,  the  one  I  have 
made  is  very  similar  to  it,  and  almost  identical  with  the  stopcock 
arrangement  of  Mr.  Bolas,  the  only  difference  being  that  Mr. 
Bolas  prefers  to  place  his  between  the  lens  and  the  sensitive  plate, 
whereas  mine  acts  between  the  lenses  of  a  double  combination. 
In  this  latter  position  the  ball-and-socket  principle  would  possess 
the  advantage  of  occupying  less  space,  as  the  lenses  can  be  brought 
nearer  to  a  ball  than  to  a  cylinder  of  the  same  diameter,  so  that 
a  larger  working  aperture  of  the  lens  is  available. 

In  the  diagram,  the  dotted  circle  marks  the  position  of  the 
apertures  in  the  tin  metal  ball  when  the  light  is  turned  off. 
These  apertures  do  not  act  as  a  stop,  but  allow  the  image  to  fall 
on  the  plate,  in  much  the  same  manner  as  a  shutter  sliding  near 
the  plate  djes. 

Of  course  there  are  optical  as  well  as  mechanical  difficulties  to 
be  surmounted  before  any  such  principle  would  be  practicable  ; 
but  when  we  remember  what  was  effected  in  the  case  of  Johnson's 
Phantascopic  camera,  may  we  not  hope  to  have  a  somewhat 
analogous  principle  successfully  applied  to  such  an  important 
branch  of  the  art  as  instantaneous  photography  ?  " 


ME.  WILLIAM  ENGLAND  AT  NOTTING  HILL. 

When  Brown  saunters  down  the  Rue  de  Rhone  in  Geneva,  with 
his  hands  thrust  into  the  pockets  of  his  tweed  suit,  proudly 
conscious  that  he  has  done  the  Swiss  tour  as  it  ought  to  be  done, 
he  begins  to  think  about  taking  something  home  with  him  as  a 
souvenir  of  his  mountain  trip.  He  has  had  his  Alpenstock 
branded  from  top  to  bottom  with  the  name  of  every  peak  and 
pass  he  has  visited,  so  that  it  now  represents  a  capital  of  some 
twenty  francs ;  and  has  weighted  his  trunk  with  a  mass  of  curious 
fossils  and  stones,  which,  somehow  or  other,  appear  less  valuable 
now  than  when  he  picked  them  up  on  the  mountain  side ;  but 
he  has,  so  far,  purchased  nothing  to  remind  him  of  the  snow- 
hooded  peaks  and  crystalline  glaciers  he  has  seen  on  the  "  Con- 
tinong."  In  these  circumstances  Brown  is  not  long  in  making 
up  his  mind,  and  before  many  minutes  have  elapsed  he  is  inside 


MR.  WILLIAM  ENGLAND. 


15 


one  of  the  bright  stationer's  shops,  and  putting  the  question, 
u  Avey-voos  un  photographe  de  la  Mare  de  Glass  ?" 

Brown,  of  course,  means  to  ask  for  a  photograph,  and  not  a 
photographer,  but,  fortunately  for  him,  the  shopkeeper  under- 
stands, and  in  a  little  while  a  magnificent  series  of  Swiss  views 
are  at  his  disposal,  from  which  he  may  pick  and  choose.  How 
much  clearer  and  more  delicate  are  the  photographs  than  those 
purchasable  in  England !  —  and  they  are  so  cheap,  too. 
Brown  makes  quite  a  collection  before  he  leaves  the  shop ;  they 
will  astonish  Mrs.  Brown  and  the  fellows  at  the  club,  and  no 
mistake.  It  is  months  afterwards,  when  these  same  pictures 
are  being  examined  in  Brown's  drawing-room,  that  a  visitor  with 
sharper  eyes  than  usual,  points  out  to  the  travelling  Briton,  in 
the  corner  of  the  yellow  mount,  and  in  very  small  type,  the 
name  of  William  England. 

Yes,  Mr.  William  England  is  probably  the  largest  Continental 
publisher  of  European  views,  and  here  at  St.  James's  Square,  or 
rather  in  a  compact  little  establishment  at  the  back  of  his  resi- 
dence, is  the  source  of  all  the  prints  issued  in  his  name.  In  the 
summer,  Mr.  England  travels  in  Switzerland,  the  Tyrol,  and 
Italy  for  months  together  with  camera  and  apparatus,  bringing 
back  with  him  additions  to  his  series  of  photographs,  the  names 
of  which  fill  a  good-sized  pamphlet.  Mr.  England  confines 
himself  for  the  most  part  to  views  of  small  size,  or,  in  other 
words,  rarely  goes  beyond  a  10  by  8  plate.  His  favorite  travel- 
ling camera  is  standing  in  a  corner,  and  he  sets  it  up  for  our 
inspection ;  it  will  do  for  stereoscopic  pictures,  or  for  whole- 
plate  negatives.  "  Here  is  a  simple  arrangement  for  shading 
the  lens,"  says  Mr.  England,  and  he  shows  us  what  appears  to 
be  the  peak  of  a  cap  made  of  mahogany.  The  front  flap 
measures  four  inches  and  the  middle  flap  about  three,  and  the 
double  hinge  arrangement  permits  you  to  bend  down  the  peak 
right  in  front  of  the  lens,  if  you  like,  so  that  you  may  almost 
employ  it  as  a  cap.  But  for  shading  the  lens  the  arrangement 
is  invaluable,  and  travelling  photographers  would  be  wise  indeed 
to  adopt  so  simple  a  modification  to  their  apparatus.  The  har- 
mony and  delicacy  of  Mr.  England's  landscapes  are  proverbial ; 
the  sun's  glare  is  never  permitted  to  exercise  a  baneful  influence 
upon  the  middle  distance  and  horizon,  and  this  simple  shade  has 
much  to  do  with  Mr.  England's  reputation  as  one  of  the  first 
landscape  photographers. 


16 


STUDIOS  IN  LONDON. 


11  And  this  is  my  travelling  stand,"  says  Mr.  England ;  u  I  have 
knocked  about  with  it  all  over  the  Continent  for  eleven  years, 
and  it  is  as  sound  now  as  on  the  day  it  was  made."  It  certainly 
is  a  mode]  tripod,  with  two  very  valuable  properties :  it  has  a 
broad  base-board,  whereon  to  screw  the  camera,  and  it  is  ex- 
ceedingly light.  Indeed,  it  is  wondrous  strange  that  the  material 
of  which  it  is  made  is  not  more  generally  employed  for  camera 
stands ;  its  whole  virtue  is  summed  up  in  the  word  bamboo.  For 
strength  and  lightness  the  stand  is  simply  unrivalled,  and  when 
we  say  that  the  bamboo  receives  a  good  character  from  a  man  ot 
experience  like  Mr.  England,  there  can  surely  be  no  better  recom- 
mendation. 

Mr.  England  is  a  man  of  resource.  At  St.  James's  Square  he 
prepares  his  own  plates,  and  makes  his  own  varnish,  albunien- 
izes  his  paper,  prints  and  mounts  his  pictures,  and  does  what 
lithographic  or  letter-press  work  the  mounts  require.  Here  is  a 
model  little  printing  establishment  with  two  type-presses  and  a 
litho-press ;  and  adjoining  is  the  compositor's  room,  with  type 
trays  and  desks  complete.  Both  litho-press  and  printing-press 
are  busily  at  work  just  now,  and  stacks  of  white  and  yellow 
mounts  are  standing  by  ready  for  printing.  Farther  on,  across 
a  spacious  yard,  half  covered  in  with  glass,  where  the  printing 
takes  place,  is  another  building  devoted  downstairs  to  the  toning 
and  washing  of  prints,  and  upstairs  to  albumenizing  paper  and 
sensitizing  it.  The  albumenizing  is  done  when  eggs  are  cheap, 
and  there  is  very  little  mystery  about  the  matter.  The  best 
Saxe  paper  is  employed,  and  this  is  floated  upon  the  albumen  in 
the  same  way  as  paper  is  sensitized.  White  of  egg  to  the  extent 
of  a  few  gallons  is  worked  vigorously  by  a  revolving  whisk,  and 
the  salting  solution  added  at  the  same  time.  The  latter  is  in 
the  proportion  of : — 

Chloride  of  barium    5  grains 

Chloride  of  ammonium   5  ,, 

Albumen   1  ounce 

the  chloride  being  first  dissolved  in  a  little  water.  The  albumen, 
after  whisking,  is  permitted  to  stand  for  three  days,  and  after 
being  filtered  through  flannel  is  ready  for  use.  Mr.  England 
does  not  have  recourse  to  hot  plate  pressing,  or  any  other  similar 
process. 

The  sensitizing  takes  place  on  a  fifty-grain  bath,  a  three-minute 


MR.  WILLIAM  ENGLAND. 


17 


glass,  or  egg-boiler,  being  methodically  used  to  control  the  time. 
Mr.  England  prefers  to  dry  his  paper  by  artificial  warmth,  rather 
than  spontaneously,  and  employs  for  the  purpose  a  cupboard 
heated  by  a  water  bath ;  the  water  bath,  while  it  causes  the 
paper  to  dry  quickly,  does  not  permit  it  to  become  horny.  The 
water  bath  supplies  a  damper  heat  than  the  outside  air.  The 
paper  shows  no  creases,  and  exhibits  no  tendency  to  blister. 

Mr.  England's  washing  apparatus  has  already  been  described  in 
the  Photographic  News,  but  we  may  refer  to  it  once  more.  In 
a  big  oblong  trough  is  a  big  oblong  tray  ;  the  bottom  of  the  tray 
is  composed  of  trellis- work  made  up  of  gutta-percha  strips,  and 
into  this  tray  the  prints  are  put.  The  trough  contains  water, 
and  this  naturally  rises  into  the  tray.  Tl1  e  tray  rests  a  few  inches 
from  the  bottom  of  the  trough,  being  pivoted  in  the  middle  at 
each  end,  so  that  it  rocks  on  the  slightest  provocation.  A  little 
water-wheel  at  one  side  furnishes  this  provocation.  A  tap  of 
water  is  running,  and  gradually  fills  up  the  buckets  of  the  water- 
wheel,  and  whenever  they  are  full,  the  water-wheel  makes  one 
revolution  ;  in  doing  this,  it  lifts  an  arm  attached  to  one  side  of 
the  rocking  tray,  and  the  tray  is  thus  lifted  bodily  on  one  side, 
causing  the  prints  therein  to  be  considerably  agitated.  Thus  the 
prints  lying  in  the  water  are  vigorously  shaken  up  every  time 
the  wheel  goes  round,  and  this  may  be  made  to  revolve  automa- 
tically once  a  minute  or  once  an  hour  according  as  the  tap  of 
water  runs  fast  or  slow.  The  washing  trough  is,  moreover,  pro- 
vided with  a  syphon  arrangement  for  changing  the  washing 
water. 

A  very  practical  cutting-board,  for  cutting  paper,  is  to  be  seen 
in  the  same  building,  which  is  no  more  than  a  block  of  beech ; 
the  grain  of  the  wood  being  end  on,  it  presents  a  most  durable 
and  perfect  medium  for  cutting  upon. 

Mr.  England  stores  some  of  his  negatives — of  which  there  are 
hundreds  of  thousands  at  St.  James's  Square — in  ordinary  rack 
boxes,  and  some  braced  together  (with  a  sheet  of  blotting-paper 
between)  by  elastic  web  bands.  If  a  negative  is  coated  with 
proper  varnish,  there  is  no  fear  of  the  film  rising,  is  Mr.  Eng- 
land's opinion  ;  and  this  is  the  way  he  makes  his  varnish.  A 
pound  of  the  best  seed  lac  is  put  into  a  quart  bottle  of  methylated 
spirit ;  the  lac  is  shaken  up  from  time  to  time,  but  the  solution 
is  not  heated.  After  two  or  three  days,  the  spirit  will  have 
taken  as  much  lac  as  is  necessary,  and  the  clear  liquid  is  poured 

c 


18 


STUDIOS  IN  LONDON. 


off.  The  residue  may  either  be  thrown  away,  or  employed  again 
with  fresh  lac. 

For  mounting,  Mr.  England  employs  only  gum — the  very  best 
white  gum — of  which  solutions  are  freshly  prepared.  Mounts 
have  given  him  a  great  deal  of  trouble,  and  now  he  tests  for 
antichlor  or  hyposulphite  before  he  trusts  to  new  cards ;  he  has 
a  liking  for  enamelled  boards.  His  stock  of  prints,  which  is 
obviously  very  extensive,  is  kept,  however,  in  an  unmounted 
condition.  A  large  staff  of  girls  find  employment  in  these 
mounting  and  finishing  rooms. 

As  our  readers  are  aware,  Mr.  England  is  facile  princeps  in  the 
preparation  and  manipulation  of  gelatine  plates,  and  his  drying- 
box  is  the  best  model  yet  devised.    Itis  nothingmore  nor  less  than 


a  light-tight  cupboard,  with  wires  stretched  across  to  support  the 
plates.  Through  the  centre  runs  an  inch  gas-pipe,  open  at  both 
ends,  at  the  bottom  of  which  is  a  small  gas  jet  which  burns  inside. 


MESSES.  W.  AND  D.  DOWNEY. 


19 


At  the  top  and  bottom  of  the  box  are  two  draught-holes  cut,  to 
which  a  tin  tubing  of  about  three  inches  diameter  is  attached,  as 
shown  in  the  figure. 

The  gas  tube  gets  warmed  with  a  very  small  jet  of  gas  burning 
in  it,  a  mere  pin-hole  being  sufficient  exit  for  the  gas.  This 
warms  the  air  in  contact  with  the  tin  tube,  and  also  slightly  the 
air  inside  the  cupboard.  The  consequence  is,  that  a  current  of 
slightly  warm  air  is  set  up,  and  circulates  amongst  the  plates 
while  supported  on  the  wires,  and  the  drying  of  the  films  takes 
place  rapidly.  Five  or  six  hours  is  a  sufficient  time  in  which  to 
dry  the  plates,  whilst  without  the  gas  jet  it  would  take  twenty- 
four  hours  or  more.  In  the  inside  of  the  cupboard,  and  near  the 
top  and  bottom,  are  placed  two  cupboard  discs  to  stop  the  possi- 
bility of  any  stray  light  entering,  and  as  the  whole  affair  is 
placed  in  the  dark-room,  the  chances  of  any  such  access  even 
without  it  would  be  small. 

Inside  the  cupboard  door  is  fixed  a  thermometer,  and  the  jet 
is  regulated  so  that  a  temperature  of  about  70°  is  indicated — 
80°  would  do  no  harm  to  the  plates  ;  beyond  that  temperature 
it  might  not  be  safe  to  go. 

The  small  gas  jet  used  is  the  same  as  may  be  seen  in  tobacco- 
nists' shops ;  the  hole  in  the  end  is  plugged  up,  and  a  very  small 
hole  drilled  at  the  side. 


MESSRS.  W.  &  D.  DOWNEY  AT  EBTJEY  STBEET. 

Some  people  may  suppose  that  the  Messrs.  Downey  reserve  to 
themselves  the  right  of  only  photographing  titled  personages ; 
this  is  a  mistake.  A  circular  published  by  them  certainly 
conveys  the  idea  that  "  anybody,  as  calls  himself  anybody," 
must  perforce  be  portrayed  by  the  famous  Newcastle  firm  which 
has  now  established  itself  in  the  neighbourhood  of  Buckingham 
Palace  ;  but  Messrs.  W.  and  D.  Downey  are  really  not  averse 
}  to  take  any  of  Her  Majesty's  subjects  any  more  than  the  Queen 
herself.  Indeed,  we  may  go  further,  and  say  that  on  com- 
parison Messrs.  Downey's  charges  will  be  found  to  be  less  in 
some  respects  than  those  of  other  fashionable  portraitists.  You 
may  tender  a  guinea  at  Ebury  Street  without  giving  offence, 
but  for  this  guinea  you  can  only  command  one  pose  ;  for  every 


20 


STUDIOS  IN  LONDON. 


additional  position  an  additional  charge  is  made,  so  that  perhaps 
in  the  end  the  fees  are  much  the  same  as  elsewhere.  The  new 
Promenade  or  Panel  portrait  naturally  enough  commands  the 
highest  prices,  and  for  six  of  these  £3  3s.  are  asked.  Cartes 
are  one  guinea  the  dozen — but  you  have  only  one  position — and 
cabinets  are  charged  double  ;  as  a  matter  of  course,  the  fees  are 
*  paid  before  the  pictures  are  taken.  The  Panel  portrait  is  cer- 
tainly making  way,  the  one  drawback  being,  so  we  are  told, 
that  it  can  only  be  used  for  standing  portraits. 

Messrs.  W.  and  D.  Downey  occupy  two  modest  little  houses 
in  Ebury  Street.  The  showrooms,  which  are  also  exceedingly 
modest  and  simple  in  their  nature,  are  on  the  ground-floor. 
The  public  pass  straight  into  them  from  the  street,  and  to  get 
to  the  studios  and  dressing  rooms  there  are  but  eight  or  ten  steps 
to  mount.  The  studios  are,  therefore,  easily  come-at-able.  We 
have  no  need  to  speak  of  the  excellence  of  the  work  of  Messrs. 
Downey  ;  their  staple  is  evidently  the  Cabinet  portrait  just  now, 
and  these  are  executed,  as  our  readers  know,  with  high  skill 
and  artistic  finish.  At  No.  61,  Ebury  Street,  there  are  two 
studios,  and  at  No.  57,  one  glass  room,  which  is  only  just 
completed. 

This  new  glass  room  is  a  very  fine  building.  It  faces,  or 
rather  its  entire  length  does,  due  north.  It  measures  42  feet  by 
14  feet.  One  side  is  a  blank  wall  with  a  single  window  ;  the 
other  three  sides  and  roof  may  be  described  as  entirely  of  glass. 
Put  it  is  all  ground  glass,  and  the  soft  illumination  thus  secured 
is  simply  delightful.  That  portion  of  the  roof  which  faces 
south  has  white  boards  screwed  over  it,  which  boards  may  be 
removed,  one  or  all,  at  any  time  in  winter  or  dull  weather  ;  but 
it  may  be  taken  for  granted  that  they  will  be  a  fixture  under 
general  circumstances.  Wood  is  said  to  be  the  coolest  roof  that 
can  be  secured ;  but  there  is,  of  course,  ample  ventilation  pro- 
vided. Backgrounds,  properly  speaking,  will  be  eschewed,  and 
the  studio  fitted  up  as  much  as  possible  to  represent  a  light 
drawing-room.  The  plaster  wall  is  painted  a  French  grey, 
which  almost  resembles  a  lavender,  and  a  panelling  of  ground 
glass  runs  right  round  the  skirting.  Curtains  running  across 
the  apartment  and  movable  screens  permit  of  casting  any 
shadows  that  may  be  desirable,  but  it  will  be  Messrs.  Downey's 
aim  to  photograph  their  models  standing  in  front  of  a  ground 
glass  window  at  one  end  of  the  studio.    The  light  coming 


MESSRS.  W.  AND  D.  DOWNEY. 


21 


through  this  background  window  is,  of  course,  very  subdued, 
but  it  will  give  a  wonderful  effect  of  relief,  and  represent  the 
model  as  standing  beside  the  window  of  an  ordinary  drawing 
room.  On  either  side  of  the  window  are  movable  door-like 
screens  to  aid  in  effect.  At  the  other  end  of  the  studio  the  glass 
is  not  seen,  by  reason  of  a  practicable  screen  or  partition  that 
has  been  erected ;  but  a  door  in  this  partition  may  be  opened 
to  permit  a  model  to  stand,  who  will  thus  be  lighted  up  as  if  in 
a  doorway  or  in  an  opera-box,  &c.  As  we  have  said,  there  is 
not  one  atom  of  clear  glass  about  the  studio. 

It  is  just  sixteen  years  ago,  Mr.  Daniel  Downey  told  us, 
since  his  brother  and  himself  were  called  to  Balmoral  for  the 
first  time  by  order  of  Her  Majesty;  and  although  no  one  will 
deny  that  the  firm  has  enjoyed  opportunities  which  others  have 
not  been  so  fortunate  as  to  secure,  it  must  be  remembered  that  it 
is  not  everybody  who  knows  how  to  make  good  use  of  an  oppor- 
tunity. At  that  time  there  was  no  accommodation  to  be  had 
near  the  Castle  and  grounds,  and  the  brothers  were  glad  enough 
to  shelter  themselves  and  their  apparatus  in  a  labourer's  cottage. 
But  they  did  not  want  for  personal  comforts,  for  hardly  had 
they  arrived  than  the  Prince  of  Wales,  knowing  of  the  strait  the 
photographers  were  likely  to  be  in,  drove  over  in  a  waggonette 
to  see  them,  and  good-naturedly  sent  up  provisions  and  wine  at 
once  for  their  especial  behoof.  The  reception  turned  out  to  be 
one  of  good  omen,  and  is  likely  to  remain  in  the  memories  of 
Messrs.  Downey  many  a  long  day. 

Everybody  has  seen  the  portrait  of  the  late  Earl  of  Beaconsfield 
in  a  black  velvet  coat  taken  by  Messrs.  Downey.  It  was 
not  an  easy  portrait  to  secure,  and  it  was  taken,  it  appears, 
some  nine  years  ago  at  Balmoral,  when  the  ex-Premier's  name 
was  not  Beaconsfield,  but  Disraeli.  The  Messrs.  Downey  had 
just  completed  a  spell  of  work  at  the  Castle,  and  had  made 
arrangements  for  a  few  days'  tour  in  the  Highlands  before 
returning  to  Newcastle.  Accidentally  the  Premier  ran  down  to 
have  audience  of  Her  Majesty,  and  the  brothers  had  to  be 
recalled  from  their  pleasuring  on  purpose  to  photograph 
Benjamin  Disraeli.  Back  they  came,  and  in  the  morning 
Mr.  Disraeli  walked  into  the  improvised  studio  in  a  coat  of 
azure  blue  and  light  trousers.  They  tried  and  tried  again,  but 
the  photographs  did  not  please.  It  had  been  difficult  before  to 
persuade  the  Premier  to  sit  for  his  portrait,  but  he  resisted  all 


22 


STUDIOS  IN  LONDON. 


importunities  the  next  day.  Lady  Churchill  did  all  she  could, 
and  only  when  the  stubborn  First  Lord  heard  that  it  was  Her 
Majesty's  keen  desire  to  secure  a  portrait,  did  he  consent  to  sit 
once  more.  Unfortunately,  it  was  a  dull  rainy  morning,  and 
the  natty  velvet  jacket  in  which  he  was  now  arrayed  was  a 
source  of  constant  anxiety  to  Her  Majesty's  Chief  Minister ;  a 
few  rain  drops  might  spoil  its  gloss  beyond  redemption,  and  this 
care,  together  with  the  long  exposures  necessitated  by  the  dull  * 
light,  again  prevented,  the  photographs  being  successful.  The 
fruits  of  the  second  day  were  no  more  satisfactory  than  those  of 
the  first.  As  to  suggesting  further  sittings  on  the  third  morning, 
it  was  more  than  any  who  valued  peace  of  mind  dared  do. 
There  was  the  Premier  still  at  Balmoral,  walking  about  the 
grounds,  but  who  was  to  ask  him  ?  At  last,  Lady  Churchill 
plucked  up  courage,  and  spoke  once  more  to  the  First  Lord  of 
the  Treasury.  He  was  obdurate  at  first,  but  in  the  end  he 
consented  to  give  five  minutes,  but  only  five  minutes.  He 
appeared  again  n  the  velvet  jacket,  and  in  a  very  bad  humour  ; 
but  the  negatives  secured  on  that  occasion  have  become  famous. 
Hundreds  of  thousands  of  prints  have  been  circulated,  and  the 
negatives  have  been  printed  in  silver,  carbon,  enamel,  and  both 
woodbury typed  and  collotyped.  It  was  some,  time  afterwards 
before  the  Messrs.  Downey  consoled  themselves  for  the  loss  of 
that  Highland  holiday  of  theirs,  but  they  seem  now,  at  any  rate, 
to  have  quite  got  over  the  disappointment. 

Messrs.  Downey's  printing  for  the  most  part  is  done  at  New- 
castle, where  also  all  the  pictures  for  publication  are  mounted 
and  finished ;  but  some  work  has,  of  course,  to  be  completed  in 
town.  All  negatives  for  private  customers,  which  are  not 
required  to  stand  so  much  wear  and  tear,  are  retouched  after  they 
are  varnished,  but  in  the  case  of  popular  portraits  the  retouching 
is  first  done  on  the  film,  which  is  then  varnished.  For  washing 
prints,  white  earthenware  utensils  are  employed,  for  much  stress 
is  laid  on  cleanliness  in  Ebury  Street,  and  this  is  obviously 
secured  by  having  utensils  that  show  the  dirt  very  plainly.  All 
negatives  are  stored,  packed  in  brown  paper,  and  not  loose  in 
racks. 

We  spoke  on  the  subject  of  photographs  of  "  Beauties  "  before 
quitting  Messrs.  Downey's  famous  establishment.  The  affair  is 
by  no  means  so  simple  as  it  seems.  As  a  matter  of  course,  no 
portrait  is  ever  published  without  the  full  consent  of  the  sitter, 


MR.  PAYNE  JENNINGS 


23 


and  we  feel  sure  that  this  assurance  of  Messrs.  Downey's  finds 
an  echo  in  every  studio  of  standing  throughout  the  country. 
But  here  is  the  difficulty.  A  lady  gives  permission  to  have  her 
portrait  published ;  as  it  is  a  very  good  one,  and  shows  her  in  a 
favourable  light,  she  has  no  objection  if  it  does  meet  the  public 
eye.  Nay,  more  ;  probably  the  more  frequently  her  picture  is 
seen,  the  better  she  likes  it.  The  photographers  have  taken 
much  pains  upon  the  portrait,  and  they  proceed  at  once  to  print 
the  negative.  They  do  not  issue  the  prints  at  once,  for  fear 
these  may  be  copied,  but  wait  until  they  can  stock  the  market. 
Then  the  firm  issues  to  the  trade.  Dealers  in  all  parts  of  the 
country  buy,  and  the  portrait  circulates  everywhere.  At  this 
juncture,  maybe,  the  lady  repents  of  her  decision,  and  comes 
posthaste  to  Messrs.  Downey,  asking  that  the  picture  maybe 
withdrawn.  This  is  impossible ;  the  matter  no  longer  rests 
with  the  original  producers.  They  may  say,  "  Very  well,  we 
will  not  print  another  copy ; "  but  this  has  not  the  effect  of 
withdrawing  the  print  from  sale.  On  the  contrary,  if  dealers 
already  in  possession  of  prints  get  to  know  that  a  photograph  is 
no  longer  printed,  the  price  of  it  goes  up  at  once,  and  very  much 
is  made  of  it ;  unscrupulous  printers  will  set  to  work  copying 
under  the  circumstances.  In  any  case,  the  producers  are  not 
to  blame^So  far  as  Messrs.  Downey  are  concerned,  they  have 
never  published  a  portrait  without  the  full  consent  of  the  model ; 
but  ladies,  and  especially  those  who  are  given  to  changing  their 
minds,  should  remember  that  a  permission  once  given  is  not,  as 
we  have  shown,  so  easily  cancelled. 


MR.  PAYNE  JENNINGS  AT  WEST  DULWICH. 

Apart  from  Mr.  Payne  Jennings'  rare  skill  and  refinement  in 
the  art  of  making  pictures — qualities  that  few  of  us  can  ever 
aspire  to — there  is  much  in  his  work  that  may  be  studied  with 
advantage  by  every  photographer.  He  has  shown  in  the  true 
spirit  of  an  artist  how  all-powerful  is  the  pencil  of  light.  He 
coquettes  with  pebbly  brook  and  leafy  dell,  wooing  nature  under 
every  humour.  Now  he  follows  the  coy  maid  into  green  vale 
and  over  purple  moorland,  now  under  shadow  of  deep  boulders, 


24 


STUDIOS  IN  LONDON. 


beside  the  rushing  foam,  now  among  the  yellow- green  willows 
of  a  placid  backwater  he  makes  his  capture.  Sunshine  or  shade  ; 
the  bright  lakelet  or  gloomy  cavern  ;  the  shadowy  foliage  of 
lofty  tree,  or  tender  undergrowth  of  fern  and  flowret;  the  black- 
lichened  rock,  or  snow-flecked  clematis — all  are  tenderly  limned 
upon  the  sensitive  plate,  and  the  sweet  pictures  thus  crystallized 
for  ever. 

Mr.  Payne  Jennings,  then,  is  one  of  that  small  band — we 
might  almost  count  the  number  on  our  fingers — who  can  gather 
pictures  by  the  wayside  with  his  camera.  His  pictures — and 
one  can  only  say  this  of  a  very  few  workers — are  published  and 
purchased  as  pictures,  and  not  as  photographs  of  this  spot  or 
that.  But  as  an  art-photographer  he  has  done  more  than  this. 
4 '  Delicacy  and  brilliancy  I  believe  to  be  perfection  in  a  photo- 
graph,'J  said  our  host ;  "  and  to  secure  these  a  light  tone  appears 
to  me  absolutely  indispensable. "  It  is  to  this  decided  opinion 
that  we  owe  the  new  school  of  printing,  for  we  can  hardly  call 
it  by  any  other  name,  with  which  Mr.  Payne  Jennings  has  made 
us  familiar.  AVarni  tints  and  delicate  tones  arc  no  novelty,  it  is 
true ;  but  when  we  have  a  photographer  coming  forward  who 
dares  to  risk  the  printing  of  all  his  work  in  one  particular  tint 
and  depth,  we  must  acknowledge  that  he  has  courage  to  back 
his  belief  in  spite  of  every  prejudice,  while  the  success  that  has 
attended  Mr.  Payne  Jennings'  publications  is  ample  proof  of 
the  correctness  ot  his  views. 

At  Dulwich  there  is  but  a  printing  establishment,  and  nothing 
more.  Mr.  Jennings  rarely  mounts  his  own  pictures;  all  his 
efforts,  when  not  very  busy  with  the  camera,  are  confined  to 
printing ;  and  since  he  has  to  supply  during  the  present  season 
some  90,000  impressions  for  Christmas  cards,  it  may  be  taken 
for  granted  that  this  work  is  quite  enough  to  occupy  his  atten- 
tion. "We  all  know  that  Christmas  Annuals  are  written  in  the 
summer  time,  and  that  the  stories  of  snow-bound  travellers  that 
are  served  up  to  us  every  year  in  coloured  bindings  in  which  the 
holly  berry  and  robin  redbreasts  prevail,  are  usually  thought 
out  and  elaborated  in  the  dog  days  ;  but  even  with  this  fore- 
knowledge it  strikes  one  as  strange  to  see  photographic  printers 
busy  in  the  hot  months  upon  work  that  is  destined  for  midwinter 
sale.  Yet  here,  at  Dulwich,  in  the  piping  hot  sunshine,  they 
are  printing  away  at  photographs  for  Christmas  at  the  rate  of  a 
thousand  a  day.    Heaps  of  prints  lie  before  us,  all  of  that 


MR.  PAYNE  JENNINGS. 


25 


delicate  warm  tone  which  Mr.  Payne  Jennings  loves ;  they  are 
little  vignetted  landscapes,  carte  size,  in  sheets  of  six,  and,  as 
we  look  on,  an  assistant  is  hard  at  work  with  a  pad  of  felt  on 
the  table  before  her,  and  a  short  wooden  knife  in  one  hand, 
smoothing  and  flattening  them,  sheet  by  sheet.  Deftly  she 
seizes  a  curled  and  cockled  print,  and  puts  it,  face  downwards, 
on  the  pad ;  then,  passing  the  wooden  knife  edge  over  the  back, 
working  from  the  centre,  she  converts  the  sheet  into  smooth 
paper,  and  gives  it  a  "  set,' 7  so  that  the  impressions  may  be  piled 
without  difficulty. 

What  are  Mr.  Payne  Jennings'  rules  as  regards  printing?  it 
will  be  asked.  In  the  first  place,  he  employs  a  strong  sensi- 
tizing bath — or,  at  any  rate,  not  a  weak  one — never  under 
fifty  grains  to  the  ounce ;  he  invariably  sensitizes,  prints,  tones, 
and  fixes  in  one  and  the  same  day,  performing  the  operations 
as  quickly  one  after  the  other  as  he  can.  He  has  recourse  to 
acetate  toning,  and,  as  everybody  knows,  he  does  not  carry  the 
toning  too  far.  He  believes  that  the  hyposulphite  bath  always 
requires  to  be  neutralized  with  carbonate  of  ammonia,  and  he 
never  employs  anything  but  glazed  earthenware  in  which  to 
wash  bis  prints,  since  it  is  not  likely  to  harbour  hyposulphite. 
During  the  first  hour  that  the  prints  remain  in  the  washing 
trough  (into  which  fresh  water  is  continually  running),  and 
after  they  have  passed  through  several  preliminary  rinsings, 
they  are  continually  being  manipulated  by  hand,  each  sheet 
being  turned  over  and  separated,  so  that  they  may  be  perfectly 
washed. 

The  paper  is  very  quickly  sensitized  and  dried ;  ten  minutes 
will  usually  suffice  for  the  operation.  This  is  the  sensitizing 
room,  and  very  light  and  airy  it  is.  The  front  is  of  glass, 
covered  with  one  thickness  of  yellow  tammy ;  but  an  additional 
screen  is  provided  to  protect  the  sensitized  paper,  and  to  keep 
in  the  warm  air,  just  by  the  fire.  A  sheet  is  floated,  drawn  as 
usual  over  a  rod  at  the  end  of  the  bath,  and  then  lifted  against 
the  edge,  so  that  it  draws  with  a  sucking  action,  bringing  up 
with  it  the  minimum  of  solution.  The  sheet  is  then  blotted 
against  filtering  paper,  to  still  further  remove  the  liquid,  and  is 
then  so  slightly  damp  that  in  five  minutes  all  superfluous 
moisture  has  been  driven  off.  The  surface  is  now  rubbed  with 
a  soft  rag  to  remove  any  fibre  from  the  filter-paper,  and  it  is 
ready  for  the  printing-frame.    Many  might  call  the  paper  still 


26 


STUDIOS  IN  LONDON. 


moist,  but,  at  any  rate,  it  is  not  dry  enough  to  cockle.  The 
pressure-frames  are  set  in  the  shade,  and,  as  all  Mr.  Jennings' 
negatives  are  very  thin,  the  printing  goes  on  apace.  Mr. 
Jennings'  paper  has  a  faint  roseate  hue. 

With  few  exceptions,  Mr.  Payne  Jennings  prints  from  repro- 
duced negatives.  Indeed,  he  could  only  print  so  many  pictures 
in  this  way.  The  original  negative  is  treated  as  they  do  the 
original  dies  at  the  Royal  Mint ;  the  sovereigns  that  are  coined 
in  large  numbers  every  day  are  all  from  the  same  original 
engraving ;  but  it  is  from  replicas  of  this,  and  not  from  Mr. 
Wyon's  own  handiwork,  that  the  actual  striking  takes  place. 
Mr.  Payne  Jennings  follows  this  example.  Prom  the  original 
negative  a  transparency  is  produced  by  means  of  carbon  tissue, 
which,  r-s  our  readers  know,  the  Autotype  Company  prepare 
especially  for  such  purposes.  This  transparency  is  usually  dense 
enough  without  any  intensifying  ;  but  when  it  comes  to  printing  a 
negative  from  it  (also  in  carbon  tissue),  reinforcing,  to  some 
extent,  is  necessary.  This  is  done  by  means  of  permanganate  of 
potash,  the  tissue,  be  it  stated,  being  developed  invariably  upon 
thin  patent  plate  coated  with  a  film  of  gelatine.  In  this  way 
Mr.  Jennings  has  no  difficulty  in  producing  negatives — which 
are  never  dense — all  of  the  same  intensity,  so  that  he  can  print 
half-a-dozen  of  them  at  a  time  in  one  frame. 

Besides  the  small  work,  and  his  large,  well-known  studies, 
Mr.  Payne  Jennings  is  at  this  moment  engaged  in  illustrating 
no  less  than  eighteen  different  volumes  of  poems — "all,  I  am 
sorry  to  say,  in  silver,"  said  Mr.  Jennings.  "I  should  much 
like  to  employ  a  mechanical  process,  or  carbon,  or  platinotype, 
and  I  hope  sincerely  I  may  soon  be  able  to  do  so ;  my  only  desire 
is  to  produce  prints  as  delicately  and  brilliantly  as  I  can,  and, 
so  far  as  I  have  seen,  none  of  these  processes  can  compete  with 
silver.  I  shall  be  only  too  happy  to  adopt  them  when  results 
as  beautiful  are  to  be  secured  by  their  means."  Mr.  Payne 
Jennings,  as  a  producer  of  pictures,  must  please  his  master — the 
public ;  this  is  the  main  point  he  must  keep  steadfastly  in  view. 

Mr.  Payne  Jennings,  for  his  camera  work,  prefers  either 
spring  or  autumn.  Spring  in  half -leaf  is  the  best  time,  he  thinks  ; 
the  graceful  outline  of  the  trees  is  seen  to  advantage,  and  the 
wind  has  less  power  than  upon  full  foliage.  Many  photographs, 
he  thinks,  are  marred  by  accidental  lights  ;  you  want  broad 
effects,  and  not  lighting  here,  there,  and  everywhere.  Again, 


MR.  PAYNE  JENNINGS. 


27 


photographs  against  the  light  furnish  finer  contrasts  than  can  be 
obtained  in  any  other  manner ;  masses  of  shadow  thrown  into 
relief  are  then  secured,  and  the  lighting  is  much  bolder.  Mr. 
Jennings  does  not  think  that  extra-rapid  plates,  however  useful 
they  may  be,  will  add  to  the  number  of  our  artists ;  the  art- 
photographer  rarely  wants  to  work  with  an  exposure  of  one 
five-hundredth  of  a  second.  He  does  not  care  much  about 
depicting  express  trains  going  at  lightning  speed,  or  four-horse 
coaches  at  twelve  miles  an  hour.  He  is  concerned  more  in 
obtaining  a  bit  of  romance  or  poetry  in  his  sketches — in  depicting 
a  deep-shadowed  glen  or  a  sedgy  pool  in  which  the  yellow 
water-lilies  grow.  An  old  water-mill  beside  the  flowing  river, 
forsaken,  and  in  ruins,  that  lies  here  on  the  table,  seems  cer- 
tainly to  bear  out  what  our  host  says.  It  embodies  the  well- 
known  German  ballad  of  the  "  Mill- Wheel " — 

"  In  einem  kiihlen  Grunde 
Da  geht  ein  Miihlenrad, 
Mem  Liebehen  ist  verschwunden 
Die  dort  gewohnet  hat." 

"I,  for  one,"  says  Mr.  Payne  Jennings,  "  do  not  believe  in 
any  formula  giving  a  weak  sensitizing  bath.  The  paper  dealers, 
I  know,  frequently  send  out  printed  instructions,  which  you 
are  asked  implicitly  to  follow,  and  give  you  a  silver  bath  as  low 
as  30  grains  to  the  ounce.  I  have,  however,  never  been  able  to 
work  this  successfully,  and  generally  find  50  grains  to  be  the 
minimum  strength  compatible  with  good  results.  In  the 
sensitizing  dish  it  will  be  well  to  have  a  glass  rod  attached  to 
one  end,  and  each  sheet  of  paper  should  be  pulled  over  this  after 
sensitizing  ;  it  may  then  be  blotted  off  on  stout  blotting-paper, 
and  hung  up  to  dry.  I  think  it  is  much  better  not  to  have  the 
paper  bone  dry  when  placed  in  the  frames,  especially  in  summer- 
time. Before  placing  the  paper  on  the  negative  it  should  be 
carefully  wiped  with  a  piece  of  clean  linen  or  silk,  as  the  fluff 
from  the  blotting-paper  adheres  slightly  to  the  surface.  There 
can  be  no  doubt  that  shade-printing  in  all  cases  is  the  most 
economical  (except,  of  course,  in  the  very  exceptional  case  of  a 
'  hard  negative),  there  being  much  less  likelihood  of  your  amassing 
a  large  quantity  of  defective  prints.  The  general  depth  of  your 
batch  of  prints  must  depend  entirely  upon  the  state  in  which 
you  keep  your  sensitizing  and  toning  bath.  The  intelligent 
printer  knows  well  that  it  is  here  he  must  give  his  best  atten- 


28 


STUDIOS  IN  LONDON. 


lion,  if  he  desires  uniformity  in  his  daily  results.  Let  the 
printing  bath  be  always  of  uniform  strength,  and  the  due 
proportion  of  acetate  of  soda  and  gold  in  the  toning  bath,  and  you 
will  rarely,  if  ever,  get  into  trouble.  You  know  at  once  what 
reduction  will  take  place  in  your  print,  just  as  though  you  saw 
it  finished  and  dry  before  you ;  but  let  irregularity  creep  into 
the  formula,  and  your  day's  work  will  certainly  be  more  or 
less  a  failure.  The  rules  regulating  the  sensitizing  and  toning 
baths  must  be  rigidly  observed,  and  to  carelessness  in  this 
respect  may  be  attributed  the  majority  of  printing  failures,  and 
general  want  of  uniformity  in  results.  To  keep  the  silver  bath 
in  workable  strength,  a  stock  solution  of  silver — 80  grains  to 
the  ounce  of  water — should  be  kept  in  readiness  to  the  hand 
of  the  sensitizer,  and  1  ounce  of  this  solution  added  to  every 
five  sheets  sensitized,  care  being  taken  to  agitate  the  dish,  so 
as  to  equalize  the  strength  of  the  solution. 

"  Toning. — For  toning  the  print,  I  believe  the  ordinary  acetate 
bath  is  the  best,  giving,  as  it  does,  such  beautiful  warm  tones, 
and  which  I  myself  am  partial  to.  When  the  prints  are  taken 
from  the  printing-frame,  they  should  be  well  washed  in  three 
or  four  changes  of  water,  and,  lastly,  in  water  containing  a 
handful  of  salt. 

Toning  Bath. 

Chloride  of  gold   1  gram 

Acetate  of  soda  ...       ...       ...       ...  35  grains 

Carbonate  of  soda        ...       ...       ...    5  ,, 

"Water   8  ounces 

A  convenient  form  of  stock  solution  to  add  to  the  toning  bath 

(as  it  loses  energy)  is  as  follows  : — 

Chloride  of  gold  ...    15  grains 

Acetate  of  soda  2  drachms 

Water     ...       ...       ...       ...       ...    1  ounce 

A  portion  of  the  solution,  regulated  by  the  daily  average  of 
sheets  of  paper  toned,  should  be  added  to  the  bath  after  the 
day's  toning  is  done ;  it  will  then  be  in  good  condition  for  the 
next  use.  It  will,  however,  always  be  found  wise  to  have  two 
or  three  baths  in  use,  and  work  them  alternately. 

"  The  prints  when  taken  from  the  toning  bath  should  be  again 
placed  in  water  containing  a  little  salt,  and  afterwards  well  and 
carefully  washed  in  several  changes  of  water. 


THE  AUTOTYPE  WORKS. 


29 


"  Fixing. — For  fixing,  I  believe  a  strong  hyposulphite  bath 
is  the  best,  not  less  than  4  ounces  to  the  pint  of  water,  care 
being  taken  to  neutralize  with  carbonate  of  soda  or  ammonia. 
For  washing,  the  best  plan,  in  my  opinion,  is  to  wash  a  com- 
paratively short  time,  and  have  a  boy  constantly  turning  the 
prints  over  during  that  period ;  first  turning  them  all  face  up, 
and  then  going  through  the  whole  batch  again,  and  turning 
them  in  a  contrary  direction,  and  so  on." 


AT  THE  AUTOTYPE  WOKKS,  EALING  DENE. 

"We  have  had  the  pleasure  of  visiting  in  our  time  the  three 
largest  carbon  printing  establishments  in  Europe.  In  1869  we 
went  down  to  busy  Newcastle  at  the  invitation  of  Mr.  J.  W. 
Swan,  and  had  the  good  fortune  to  see  the  interesting  process  of 
printing  photographs  in  carbon  as  practised  by  that  gentleman. 
As  our  readers  know,  in  the  Swan  process  the  tissue,  after 
printing,  was  placed,  face  downwards,  on  india-rubber,  and 
when  the  image  had  been  developed  by  warm  water,  transfer 
paper  was  put  upon  it,  and  then  the  rubber  sheet  removed  from 
the  back  by  softening  with  benzole.  The  Swan  process,  if  not 
so  simple  as  that  now  practised,  was  thoroughly  practical,  and 
gave  pictures  that  bear  comparison  even  with  those  now  pro- 
duced, facts  that  were  fully  borne  out  by  the  Eraun  establish- 
ment in  Alsace,  which  worked  Swan's  patent.  This  we  visited 
in  1870,  when  France  and  Germany  were  on  the  eve  of  strife. 
The  mountain  villages,  we  remember,  were  teeming  with  ex- 
citement, and  the  blue  hills  of  Alsace  were  soon  to  be  disturbed 
by  the  rude  shock  of  war.  Dornach  was  a  contrast  to  New- 
castle ;  it  is  not  far  from  the  Swiss  border,  near  Basle,  sur- 
I  rounded  by  wooded  slopes  and  sweet  pine  forests.  At  Dornach, 
,  the  Swan  process  was  to  be  seen  on  a  larger  scale  than  at  the 
'  home  of  its  birth.  Paintings  from  most  of  the  European  galleries 
were  reproduced  by  its  means,  of  magnificent  dimensions,  and 
we  recollect  to  this  day  some  excellent  facsimiles  from  the 
Sistine  Chapel.  The  art  treasures  of  Rome,  Munich,  Paris,  and 
other  European  capitals  were  here  reproduced  in  large  quantities, 
and  Braun's  establishment  became  famous  throughout  Europe, 
both  by  reason  of  the  beauty  of  the  work,  and  its  permanence. 


30 


STUDIOS  IN  LONDON. 


We  were  fortunate  ia  being  permitted  by  the  late  Mr.  Johnson 
to  see  his  simplification  of  the  Swan  process,  when  this  was 
still  under  elaboration  at  his  residence  in  Brixton,  the  simplifi- 
cation in  question  being  the  germ  of  the  single  transfer  process. 
Mr.  Johnson's  important  discovery  was  the  fact  that  you  needed 
no  cementing  material  to  hold  fast  the  tissue  during  development ; 
if  you  soaked  the  tissue  in  water  and  clapped  it  down  on  any 
impermeable  surface,  the  image  remained  on  that  surface  by 
reason  of  the  atmospheric  pressure  against  it.  This  fact  Mr. 
Johnson  must  have  shown  us  more  than  ten  years  ago,  but  it 
was  only  recently  that  we  visited  the  Autotype  Company's  works 
at  Ealing  Dene,  and  were  gratified  with  a  sight  of  carbon  print- 
ing carried  on  at  the  present  day  upon  a  large  scale  and  under 
the  most  favourable  auspices.  We  had  expected  much,  but 
what  we  saw  far  exceeded  our  expectations. 

The  Autotype  Works  are  under  the  direction  of  Mr.  J.  R. 
Sawyer,  his  partner,  Mr.  W.  S.  Bird,  occupying  the  post  of 
general  manager  in  town.  The  group  of  buildings  at  Ealing 
shelter  a  personnel  of  eighty,  and  the  manner  in  which  the  work 
is  organised  and  subdivided  proves  the  presence  of  a  master  mind 
somewhere  about  the  premises.  A  large  number  of  young 
women  find  employment  in  the  Works,  especially  in  the  retouch- 
ing, mounting,  varnishing,  and  mechanical-printing  rooms ;  but 
in  the  taking  of  negatives,  sun-printing,  and  development  of 
prints,  only  assistants  of  the  male  sex  are  employed.  Mr.  Sawyer 
was  good  enough  to  conduct  us  personally  round  the  establish- 
ment, and  if  he  will  permit  us  here  briefly  to  thank  him  for  his 
courtesy  and  attention,  we  will  at  once  proceed  to  tell  the  reader 
what  we  had  the  pleasure  of  witnessing. 

Making  the  carbon  tissue  is  naturally  the  first  thing  to  look 
at.  Here  is  the  mixing  room,  where  the  proportions  of  pigment, 
gelatine,  sugar,  &c,  are  mixed,  and  the  bichromate  added,  when 
the  tissue  is  to  be  produced  ready  sensitized.  Carbon  tissue,  we 
may  inform  the  uninitiated,  looks  very  much  like  black  court 
plaister.  The  pigment  mixture,  kept  at  a  temperature  of  some- 
thing above  120°  E.,  is  kept  turning  in  a  drum  for  upwards  of  an 
hour  to  ensure  perfect  mixing ;  the  pigments  employed  are  Indian 
ink  or  vegetable  black,  with,  perhaps,  alizarine  or  indigo,  or  the 
oxides  of  iron  or  sepia.  In  the  finest  tissues  for  enlarging  pur- 
poses, only  Indian  ink  is  used,  for  this  pigment  of  all  the  others 
is  so  fine  that  it  may  be  filtered  through  cotton  wool.  The 


THE  AUTOTYPE  WORKS. 


31 


warm  mixture  is  now  transferred  to  a  trough  in  the  coating  room. 
Over  the  trough  is  an  endless  roll  of  paper,  and  this  dipping 
down  into  the  trough  is  then  passed  upwards  over  rollers.  The 
room  is  not  only  maintained  at  a  warm  temperature  (70°  P.), 
but  there  is  above  a  huge  ventilator  with  a  fan  worked  by  an 
Archimedean  screw,  and  this  fan,  carrying  away  the  atmosphere 
above,  causes  a  stream  of  warm  air  to  be  constantly  flowing 
through  the  apartment.  The  consequence  is,  that  before  the 
coated  paper  has  proceeded  very  far  over  the  roller,  the  black 
gelatine  has  set :  the  tissue  comes  running  along  a  travelling 
bed,  and  here  it  is  cut  into  lengths  of  twelve  feet,  which,  one 
after  another,  are  taken  up  by  an  assistant  by  means  of  a  sort  of 
haymaker's  rake,  and  hung  up  to  be  further  dried.  In  four  or 
five  hours  the  tissue  is  quite  dry.  About  1,000  feet  a  day  are 
made  in  this  room,  but  with  the  beginning  of  spring,  when  the 
demands  of  photographers  increase,  a  second  and  much  larger 
room  is  made  use  of,  where  6,000  feet  of  tissue  can  be  dried  at 
a  time. 

Here  is  the  laboratory  where  the  transparencies  are  made  for 
enlargements.  This  is  very  delicate  work  indeed,  and  is  kept 
apart  from  the  ordinary  printing.  As  we  have  said,  a  special 
tissue  is  necessary.  The  glass  to  receive  the  transparency  is 
coated  with  gelatine,  which  is  rendered  insoluble  ;  the  tissue  is 
printed  under  the  negative  to  be  enlarged,  coated  with  collodion, 
moistened  in  cold  water,  and  then  developed  upon  the  glass. 
That  a  trial  transparency  has  generally  to  be  made  first  of  all 
goes  without  saying,  for  so  much  depends  upon  the  transparency  ; 
the  development  takes  place  within  a  few  minutes  of  the  wet 
print  being  put  upon  the  glass — they  do  not  believe  in  waiting 
at  this  stage  at  Ealing — and  is  first  treated  with  warm  water, 
and  then  hot  (perhaps  130°  F.,  or  140°  F.),  for  the  insoluble 
gelatine  upon  the  glass  surface  is  a  famous  material  for  holding 
fast  the  image. 

The  transparency  is  next  given  over  to  the  enlarging  and 
reproducing  department,  where  we  meet  an  old  friend,  Mr. 
Burton,  to  whose  management  Mr.  Sawyer  has  entrusted  this 
branch  of  the  work.  It  is  a  very  large  branch,  and  as,  in  the 
making  of  enlargements,  it  is  necessary  to  have  condensing  lenses 
of  larger  size  than  the  transparencies,  the  apparatus  here  is  well 
worth  studying.  One  pair  of  condensers  measured  twenty-two 
inches  across — the  largest,  we  believe,  made — and  they  weighed 


32 


STUDIOS  IN  LONDON. 


not  less  than  a  hundredweight.  Oxy-hydrogen  lamps  are  em- 
ployed for  producing  the  negative  from  transparencies,  the 
illumination  being  not  only  amply  sufficient,  but  more  constant 
than  daylight.  The  plates  and  baths  employed  are  obviously  of 
large  size,  and  one  of  the  latter  we  measured  was  fifty-four  inches 
by  forty. 

These  baths  are  well  worth  describing.  They  are  not  dipping- 
baths,  but  swing  on  a  pivot,  so  that  they  may  be  made  to  assume 
a  horizontal  position  at  any  moment.  They  are  of  wood,  the 
interior  being  coated  with  asphalte,  beeswax,  and  boiled  linseed 
oil.  That  they  are  economical  with  respect  to  the  amount  of 
silver  solution  required  may  be  inferred  from  the  circumstance 
that  the  large  bath,  of  which  we  have  given  the  dimensions,  re- 
quires but  five  gallons  of  nitrate  of  silver  ;  a  dipping-bath  of  the 
^ame  dimensions  would  probably  require  three  times  the  quantity. 
To  use  the  bath,  it  is  sloped  at  the  ordinary  angle  of  a  dipping- 
bath,  when  naturally  all  the  solution  runs  to  the  bottom.  The 
top  side  is  lifted,  and  the  huge  plate  laid  down  upon  a  series  of 
ebonite  pegs  ;  then  the  bath  is  turned  on  its  pivot  until  it  assumes 
a  horizontal  position,  when  the  solution  at  once,  in  one  clean 
sweep,  flows  over  the  plate,  and  remains  upon  the  film  as  long  as 
the  bath  is  horizontal.  After  a  few  minutes  the  bath  is  tilted 
back  again  on  end,  and  the  plate  allowed  to  drain  in  an  upright 
position  and  in  a  moist  atmosphere  as  long  as  the  photographer 
desires.  Thus  the  bath  saves  both  trouble  and  silver.  In  the 
series  of  dark  rooms  there  were  eight  enlarging  apparatus,  the 
illumination  necessary  for  developing  the  plates  being  provided 
by  a  row  of  gas  jets  behind  coloured  glass,  the  jets  being  put  up 
and  down  as  occasion  required,  like  the  float  or  footlight  of  a 
theatre,  Mr.  Sawyer  had  kindly  given  us  permission  to  note 
everything  we  saw  or  heard,  and  we  at  once  set  about  doing  our 
best  for  our  readers.  But  it  was  a  curious  coincidence  that  our 
friendly  guide  always  seemed  to  find  most  to  say  when  it  was 
darkest,  and  when,  of  course,  pencil  and  note-book  were  not  to 
be  seen ;  it  might  have  been  accident,  of  course,  but  the  "flow 
of  language  "  from  our  host's  lips  was  never  faster  than  when  we 
visited  Mr.  Burton's  dark  rooms. 

They  never  photograph  anything  in  a  straightforward  manner 
at  Ealing.  They  always  appear  to  be  shooting  round  the  corner 
with  their  cameras,  and,  what  is  more,  Mr.  Sawyer  intimated 
*hat  it  would  be  a  very  good  thing  indeed  if  other  photographers — 


THE  AUTOTYPE  WORKS. 


supposing  they  desire  to  print  in  carbon — were  to  follow  the 
example.  Everything  photographed  direct  at  Ealing  is  taken 
through  the  intervention  of  a  mirror,  and  therefore  the  lens  never 
points  in  the  direction  of  the  object.  A  reversed  negative  is  in 
this  way  produced,  capable  of  being  printed  by  the  single  trans- 
fer process,  and  pictures  thus  printed  are  likely  to  be  as  good 
again  as  those  developed  through  the  medium  of  a  support.  As 
a  matter  of  fact,  there  are  very  few  cameras,  properly  so-called, 
used  at  Ealing  at  all ;  huge  dark-rooms  are  employed,  in  which 
skeleton  frames  are  set  up,  and  these  answer  the  purpose  ot 
cameras.  Paintings  to  be  copied  at  Ealing — and  they  are  large 
and  many — are  set  up  in  the  open  air,  with  a  big  screen  at  their 
back  to  stop  the  light ;  from  an  embrasure  or  port-hole  in  an 
adjacent  wall — of  course,  at  an  angle — peep  forth  mirror  and 
lens,  and  if  you  go  in  to  see  the  camera  itself,  there  is  nothing 
but  a  skeleton  frame,  scarcely  discernible  in  the  dark,  at  the 
end  of  which  is  the  ground  glass  whereon  the  picture  outside  is 
reflected.  In  a  word,  the  orthodox  photographer  gets  a  good 
deal  bothered  over  the  radical  way  in  which  the  work  is  done. 

There  is  a  fixing-room  where  nothing  but  cyanide  is  employed, 
and  a  varnishing-room,  heated  to  a  warm  temperature,  where 
nothing  but  varnishing  is  carried  on  all  day  long.  There  is  a 
retouching  room  for  negatives — the  black-lead  pencil  and  indigo 
being  the  materials  employed — in  which  constant  employment 
is  found  for  a  dozen  assistants  :  and  the  finishing-room,  with  a 
personnel  of  the  same  number,  where  the  prints  are  mounted 
with  starch  and  finished.  The  printing-room  is  a  long  glass- 
roofed  building,  practically  contrived,  but  with  little  novelty ; 
large  tables  bearing  the  printing  frames  are  mounted  upon  wheels 
which  run  on  a  series  of  tramways ;  in  fine  weather  these  tables 
are  pushed  out  into  the  open  air,  in  wet  weather  the  printing 
takes  place  under  glass. 

The  developing-room  affords  a  very  busy  scene.  On  either 
side  of  a  large  apartment  are  water- tanks  heated  by  steam.  The 
carbon  tissue — for  the  most  part  single  transfer  prints — are 
brought  here  as  soon  as  printed.  We  saw  a  picture  upwards  of 
four  feet  long  developed.  A  sheet  of  stout  white  paper  was 
placed  on  a  flat  board  and  moistened  with  water ;  the  big  carbon 
print  was  thrown  into  a  cold  water  tank,  taken  out  again,  and 
placed  face  downwards  upon  the  white  paper.  The  squeegee 
was  used  to  ensure  contact,  and  then  the  whole  was  thrown  into 

D 


34 


STUDIOS  IN  LONDON. 


warm  water.  There  was  no  awkwardness  about  the  operation ; 
the  tissue  gradually  dissolved  away,  and  the  skilful  assistant 
turned  and  twisted  the  huge  print,  allowed  a  jet  of  hotter  water 
to  play  here  and  there  as  occasion  required,  and,  in  the  end,  pro- 
duced a  magnificently  toned  picture.  For  copies  of  engravings, 
which  are  but  black  and  white,  Mr.  Sawyer  employs  a  tissue 
loaded  with  pigment,  which  ensures  bright  lights  and  shadows ; 
but  in  the  case  of  half-tones  this  description  of  tissue  is  avoided. 
There  were  prints  of  sepia,  red  chalk,  and  purple,  all  being  deve- 
loped at  the  same  time.  In  the  case  of  double  transfers,  the 
white  flexible  support  which  Mr.  Sawyer  himself  has  devised 
proves  invaluable,  for  not  only  may  you  bend  a  print  to  your 
own  wish,  but  the  material  being  white,  it  permits  you  to  develop 
as  delicately  almost  as  in  the  case  of  single  transfers  which 
never  leave  their  paper  basis. 

Mr.  J.  E.  Sawyer  gives  the  following  particulars  to  produce 
carbon  pictures  on  opal : — Take  a  piece  of  clean  opal  from  the 
rack,  and  immerse  it  with  the  printed  tissue  in  perfectly  clean 
cold  water ;  the  temperature  of  the  water  should  not  exceed 
56°,  or  at  the  most  60°  Fahr.,  and  in  hot  weather  it  must  be 
kept  down  to  something  like  this  by  the  introduction  of  pieces 
of  clean  ice  from  time  to  time,  or  by  standing  the  tray  in  an 
outer  one,  containing  rough  ice  and  salt.  Almost  as  soon  as  the 
tissue  enters  the  water  it  begins  to  curl,  first  inwards — i.e., 
towards  the  gelatine  surface  ;  in  a  few  seconds  it  will  begin  to 
relax  and  soften ;  now  pass  the  palm  of  the  hand  over  it  to  re- 
move any  adhering  air-bubbles,  and  when  it  has  nearly  straight- 
ened itself  out  (but  not  quite)  adjust  it  over  the  surface  of  the 
opal  reposing  at  the  bottom  of  the  tray ;  lift  both  out  together 
and  place  upon  the  wooden  stool  for  the  application  of  the 
squeegee. 

To  squeegee  a  carbon  print  is,  like  many  other  things,  very 
€asy  when  one  knows  how.  The  printed  tissue  being  in  its  proper 
position  upon  the  opal,  take  the  squeegee  in  the  right  hand,  and 
hold  the  opal  firmly  with  the  fingers  of  the  left ;  now  apply  the 
squeegee  with  a  moderate,  even  pressure,  a  little  past  the  centre 
- — i.e.,  nearer  to  the  left  hand ;  now,  with  an  even  steady  stroke, 
sweep  off  the  water  clean  over  the  right-hand  end,  and  turn  the 
plate  round  and  repeat  the  operation  for  the  other  half  the  plate, 
commencing,  as  before,  a  little  past  the  centre.  The  tissue  will 
now  be  flat  upon  the  plate  \  the  squeegee  should  now  be  used 


THE  AUTOTYPE  WORKS. 


35 


with  some  amount  of  force  from  the  centre  to  the  ends  in  each 
direction,  so  as  to  ensure  absolute  contact  between  the  surface  of 
the  tissue  and  the  grained  face  of  the  opal ;  the  opal  may  be  now 
placed  upon  a  table,  a  piece  or  two  of  thick  blotting-paper  or 
bibulous  board  laid  upon  the  picture,  then  a  sheet  of  glass  or 
metal,  and  upon  that  something  heavy  ;  it  should  now  be  allowed 
to  repose  for  a  quarter  of  an  hour  or  so. 

The  foregoing  method  supposes  that  the  negative  is  a  reversed 
one,  and  that  the  print  can  be  developed  straight  upon  the  opal ; 
but  should  the  print  be  required  from  a  negative  made  in  the 
ordinary  manner,  a  modification  will  be  necessary.  A  print 
from  an  ordinary  negative  developed  straight  upon  the  opal 
would  be  reversed.  To  avoid  this,  it  must  be  developed  upon 
an  intermediary  or  temporary  support,  from  which  it  can  be 
transferred  to  the  opal ;  this  is  best  accomplished  by  using  the 
patent  flexible  support,  in  the  manner  following : — Take  a  piece 
of  the  support  a  shade  smaller  than  the  plate,  and  treat  it  as 
follows:  rub  the  glazed  surface  with  a  piece  of  soft  flannel 
moistened  with  a  little  of  a  waxing  compound  composed  of  yellow 
resin  six  drachms,  pure  beeswax  two  drachms,  turpentine  one 
pint ;  having  rubbed  this  well  into  the  surface  coating,  polish  it 
off  lightly  with  a  second  piece  of  soft  flannel,  avoiding  any  heavy 
pressure ;  the  action  of  a  French  polisher  is  exactly  what  is 
wanted ;  allow  it  to  remain  for  a  few  minutes  till  the  spirit  has 
entirely  evaporated,  and  the  support  will  be  ready  for  use. 

Place  the  printed  tissue  and  the  piece  of  support  in  the  tray 
of  clean  cold  water,  and  when  the  tissue  has  expanded,  bring  the 
two  surfaces  into  contact  under  water,  lift  out  together,  and 
place  upon  a  zinc  or  glass  plate  resting  on  the  wooden  stool,  the 
back  for  the  tissue  uppermost ;  apply  the  squeegee  as  before 
described,  and  allow  the  two  adherent  sheets  to  rest  under  a 
weight  and  between  bibulous  paper  for  a  quarter  of  an  hour. 
The  development  of  the  picture  is  carried  on  in  the  usual  mannei 
by  placing  it  in  water  of  a  temperature  of  110°  to  120°  Fahr., 
and  calls  for  no  special  remark  ;  the  treatment  does  not  differ  in 
the  least  from  ordinary  carbon  methods.  After  development,  an 
immersion  in  the  alum  bath  for  a  quarter  of  an  hour,  followed 
by  a  thorough  rinsing  in  clean  cold  water,  and  the  print  deve- 
loped upon  the  support  may  be  considered  finished. 

The  transference  of  the  picture  now  resting  on  the  temporary 
support  is  conducted  as  follows : — The  picture  should  be  allowed 


36 


STUDIOS  IN  LONDON. 


to  dry  spontaneously ;  make  np  a  solution  of  Nelson's  No.  1  fibre 
gelatine  two  ounces,  water  eighteen  ounces ;  soak  the  gelatine 
in  the  cold  water,  and  raise  to  a  gentle  heat ;  when  perfect  solu- 
tion has  taken  place,  stir  into  it,  with  vigorous  action,  a  small 
quantity  of  a  thirty-grain  solution  of  chrome  alum,  adding  the 
chrome  alum,  solution  in  very  small  quantities,  and  stirring  vigo- 
rously. It  is  difficult  to  say  how  much  may  be  added,  as  gela- 
tine varies  very  much  in  its  behaviour  with  chrome  alum. 
Probably  this  amount  of  solution  will  take  about  six  drachms  of 
the  chrome  alum  solution ;  if  too  much  be  added,  the  whole  goes 
into  a  viscid  mass,  and  may  be  thrown  away  at  once ;  if  too 
little,  the  fluid  will  be  too  thin  and  watery,  and  not  have  suf- 
ficient strength  to  hold  the  picture  firmly  to  the  opal.  A  few  ex- 
periments, and  the  loss  of  a  little  gelatine,  will  soon  show  the 
operator  where  he  has  got  to. 

The  transfer  solution  being  ready,  and  at  a  temperature  of 
about  100°  Fah.,  should  be  placed  in  a  tray  large  enough  to  re- 
ceive the  opal ;  or  the  opal  may  be  placed  on  a  levelling  stand, 
and  some  of  the  solution  poured  upon  it,  distributing  it  over  the 
surface  with  a  piece  of  clean  paper.  The  picture  on  the  tempo* 
rary  support,  which  should  have  been  placed  a  short  time  pre- 
viously in  cold  water,  is  now  applied  to  the  surface  of  the  opal 
resting  in  the  gelatinous  solution  in  the  dish,  being  very  careful 
to  exclude  air-bubbles,  or  it  may  be  imposed  upon  the  plate 
covered  with  the  gelatinous  solution  resting  upon  the  stand  ;  the 
squeegee  is  now  applied  as  already  described ;  the  opal,  with  the 
temporary  support  adhering  to  it,  is  allowed  to  dry  spontaneously, 
and  when  perfectly  dry,  the  support  may  be  stripped  from  the 
glass,  leaving  the  picture  firmly  anchored  to  its  grained  surface. 
The  piece  of  support  will  only  require  to  be  rubbed  over  with  a 
little  of  the  waxing  compound  to  be  perfectly  ready  for  use  again. 

A  great  deal  may  be  done  to  a  picture  in  opal  with  very  little 
trouble.  A  judicious  application  of  ink  eraser  will  improve  the 
vignetting,  put  in  high  lights,  clean  up  margins,  soften  harsh 
shadows,  and  impart  an  artistic  character  to  the  work.  From 
good  and  suitable  negatives,  prints  on  opals  have  beauties  pecu- 
liarly their  own ;  they  are  exquisitely  soft  and  delicate  in 
appearance,  and  are  susceptible  of  a  great  range  of  artistic  treat- 
ment, both  in  monochrome  and  colour 


MESSRS.  A.  AND  G.  TAYLOR. 


37 


MESSRS.  A.  &  G.  TAYLOR  AT  FOREST  HILL. 

"  Yotr  must  make  a  good  many  collodion  tranfershere,"  we  said, 
as  our  blinking  eyes  penetrated  the  gloom,  and  we  became  aware 
of  animated  beings  busily  moving  to  and  fro.  "  Two  hundred 
and  eighty  is  an  average  day's  work,"  was  the  reply,  "and  we 
shall  do  that  number  to-day." 

It  was  like  the  lower  deck  of  a  ship — dark  and  vague,  and 
with  wooden  machinery  on  every  hand,  the  active  ship's  crew 
going  about  its  work  quickly  but  quietly ;  and  yet  not  so  much 
like  the  'tween  decks  as  a  carpenter's  room  under  the  theatre, 
where  there  are  all  sorts  of  beams  and  sides  and  movable  frames 
to  be  seen.  Only  there  was  this  difference :  if  you  go  into  the 
lower  regions  of  the  Theatre  Royal  Comus,  among  the  "  sinks  " 
and  "  traps,"  you  cannot  touch  a  beam  or  a  cross-piece  without 
leaving  an  impression  behind  of  your  fingers,  while  in  Messrs. 
Taylor's  big  enlarging  room  there  is,  as  one  might  imagine,  not 
a  speck  of  dust  to  be  encountered.  As  your  eyes  get  accustomed 
to  the  darkness,  you  begin  to  perceive  all  the  clever  arrange- 
ments that  exist  for  rapid  and  accurate  working.  There  are  no 
less  than  twenty-four  lenses  in  use,  and,  in  consequence,  twenty- 
four  enlarging  stands ;  the  lenses  and  cameras  are  let  into  the 
roof,  or,  at  any  rate,  depend  therefrom,  so  that  the  collodion 
plate  for  the  enlargement  only  requires  to  be  laid  down  in  a 
horizontal  position  to  receive  the  image. 

But  let  us  explain  a  little  more  definitely.  It  is  a  long  room 
with  an  arched  roof.  There  are  four  principal  assistants,  and 
each  assistant  has  charge  of  six  lenses  ;  the  six  lenses  are 
arranged  in  a  group,  so  that  they  may  be  all  served  from  one  and 
the  same  platform,  the  assistant  requiring  to  mount  a  couple  of 
steps  to  reach  this  platform.  Here  is  a  sketch  showing  how  the 
instruments  are  arranged.  Above  is  the  camera  (C).  Daylight 
through  an  opening  in  the  roof  comes  in  at  the  back  of  the 
camera  and  illuminates  the  negative,  which  is  in  a  slide  (D). 
The  image  thrown  by  the  lens  is  vignetted  by  the  diaphragm 
(B),  and  then  falls  upon  the  table  (A).  It  is  upon  this  table 
that  the  collodion  plate  is  laid.  The  focusing  is  done  by  the 
assistant  moving  the  table  up  or  down,  a  single  screw  permitting 
this  action  without  difficulty.  The  table  (A)  may,  in  fact,  be 
moved  horizontally  as  well  as  vertically,  by  an  equally  simple 
arrangement. 


38 


STUDIOS  IN  LONDON. 


It  will  be  seen  at  once  how  quickly  an  arrangement  of  this 
kind  works.  In  the  first  place,  the  light  comes  down  almost 
vertical,  and  therefore  it  is  the  best  of  all  lights  for  the  purpose. 
In  cloudy  weather  the  light  is  not  interfered  with  in  the  least ; 
but  in  bright  sunshine  a  screen  of  opal  glass  is  employed.  The 


assistant  slips  the  negative  to  be  copied  into  the  camera ;  he 
focuses  at  A,  measures  with  a  quarter-plate  in  his  hand  the  size 
of  the  head  (for  all  heads  are  enlarged  to  this  size),  and  then 
calls  for  a  sensitized  plate.  A  lad,  whose  duty  it  is  to  supply 
him  with  these,  withdraws  a  eollodionised  plate  from  the  bath, 
drains  it,  and  simply  places  it  on  the  table  (A).  There  is  no 
dark  slide  required — no  loss  of  time  involved  in  fitting  the  plate 
into  an  apparatus  of  any  kind ;  it  is  bare  and  moist,  and  laid  on 
the  table.  An  exposure  of  two  minutes  suffices,  and  the  film  is 
then  carried  off  for  development. 

All  twenty-four  lenses  are  of  the  same  make — No,  1b 
Dallmeyer's  ;  all  the  plates  are  coated  with  the  same  collodion, 
and  all  are  treated  with  the  same  developer,  &c.  Consequently 
the  work  of  all  assistants  should  be  the  same  if  they  work  well 
and  conscientiously.  The  Messrs.  Taylor  thoroughly  believe 
in  system,  and  they  have  here  initiated  a  self-checking  method 
that  cannot  fail  to  work  satisfactorily. 

"We  have  been  talking  about  collodion  transfers  only,  but  opal- 
coated  plates  are  here  produced  under  the  same  conditions.  But 


MESSRS.  A.  AND  G.  TAYLOR. 


39 


we  ought,  perhaps,  to  go  back  a  moment  to  the  preparation  of 
the  glass,  &c.  The  chief  difficulty  in  making  collodion  transfers, 
or  collodion  enlargements  on  opal,  as  many  of  our  readers  know 
to  their  cost,  is  the  tendency  of  these  to  stain,  and  on  this  point 
we  had  some  conversation  with  our  good  friend  the  manager.  In 
his  opinion  the  staining  is  due,  in  nine  cases  out  of  ten,  to  the 
glass.  "  We  put  our  glass  plates  in  acid  for  a  week,"  said  Mr. 
Smith,  "  before  we  attempt  to  use  them.  We  never  albumenize, 
and  we  always  employ  old  collodion."  Let  our  readers  note  this. 
There  is  simply  no  firm  in  the  world  which  has  so  much 
experience  of  collodion  transfers,  and  on  behalf  of  our  readers  we 
tender  our  best  thanks  to  Messrs.  Taylor  for  this  practical 
straightforward  advice.  After  leaving  the  acid  bath,  the  plates 
are  rubbed  with  spirit,  and  are  then  fit  for  use.  The  plain  glass 
(which  is  very  thick,  by  the  way,  for  thin  glass  bends  under  the 
squeegee,  and  then  the  transfer,  when  stripped,  is  not  so  solid) 
is  dusted  with  talc  before  coating  with  collodion  ;  the  pot-metal, 
which  is  smooth,  and  not  ground,  is  coated  with  collodion,  with- 
out, as  we  have  said,  receiving  any  preliminary  film  of  albumen. 

When  the  exposed  plate  is  taken  from  table  (A),  it  is  at  once 
developed ;  the  developing,  fixing,  and  washing  arrangements 
being  situated  on  one  side  of  the  long  dark  room,  while  the 
coating  of  the  plates  and  sensitizing  are  confined  to  the  other. 
Eising  out  of  the  developing  sink  is  a  wood  block,  about  five 
inches  square  on  the  top,  which  makes  a  suitable  resting-place 
for  the  plate.  There  is  no  toning.  The  development  is  com- 
plete within  two  minutes,  and  the  plate  then  put  under  a  rose  of 
running  water;  but  it  is  not  allowed  to  remain  here  many 
minutes,  as  the  stream  of  water  is  not  found  to  arrest  develop- 
ment. The  photograph  is  speedily  popped  into  the  hyposulphite 
,  bath,  washed  again  thoroughly,  and  then  backed  at  once.  A 
good  quality  paper,  not  too  stout,  which  has  received  a  facing 
of  gelatine,  is  wetted,  placed  upon  the  collodion  plate,  squeegeed 
firmly,  and  then  the  overlapping  margins  of  paper  skilfully  cut 
off  by  rasping  them  against  the  sharp  edge  of  the  glass  with  a 
wooden  paper-folder.  When  dry,  the  transfers  strip  without 
the  least  difficulty,  and  are  then  mounted  on  card-board  for 
touching  and  painting. 

To  tell  the  truth,  we  are  rather  glad  to  get  out  of  the 
enlarging-room,  for  the  ether  fumes  cause  one's  eyes  to  smart  a 
little  sharply.    Mr.  Smith  tells  us,  however,  that  none  of  the 


40 


STUDIOS  IN  LONDON. 


assistants  suffer  after  being  at  the  work  for  a  few  days,  while 
cases  of  sickness  are  almost  unheard  of,  and  have  certainly  never 
been  traced  to  the  inhalation  of  ether  fumes.  You  have  to  be 
very  careful  in  opening  and  shutting  the  doors  in  this  portion  of 
the  building,  and  the  invariable  rule  is  to  close  one  before  you 
open  another — a  regulation  which  is  invariably  complied  with. 
On  looking  round  once,  to  see  if  a  door  had  actually  closed  behind 
us,  and  hesitating  whether  to  go  back,  or  run  the  risk  of  letting 
it  be  as  it  was,  we  caught  sight  of  a  warning  in  big  letters  : 

Everybody  shuts  the  door  but  you. 

u  It's  a  very  good  idea,  isn't  it  ?  "  said  Mr.  Smith.  "I  brought 
it  back  with  me  from  Chicago,  and  put  it  up  here."  It  was  a 
good  idea,  certainly ;  but  one  don't  like  to  be  caught  napping,  for 
all  that.  Had  no  one  been  looking,  we  should  have  gone  back 
and  kicked  that  door.  Only  fancy  being  brought  to  book  by  a 
pale-faced  bit  of  wood  ! 

The  room  for  sensitizing  paper  is  adjacent. 

The  strength  of  the  printing-bath  in  vogue  here  is  thirty-five 
grains  to  the  ounce,  and  in  respect  to  the  collection  of  residues, 
a  most  systematic  plan  is  adopted.  All  waste  solutions  contain- 
ing silver,  from  whatever  source  they  come,  are  first  treated 
with  hydrochloric  acid,  and  subsequently  with  liver  of  sulphur. 
That  is  to  say,  having  been  collected  in  large  jars,  hydrochloric 
acid  is  added  to  precipitate  chloride  of  silver ;  the  liquid  is  then 
drawn  off  into  another  receptacle,  into  which  liver  of  sulphur 
is  put,  which  naturally  brings  down  any  other  silver  that  may  be 
present,  in  the  form  of  sulphide.  By  this  exhaustive  treatment 
every  particle  of  the  precious  metal  is  recovered. 

Downstairs  is  the  printing  room.  It  is  a  rule,  and  a  very 
good  one  too,  to  fix  down  both  vignette  and  negative  in  the 
printing-frame,  at  the  commencement  of  operations,  with  strips 
of  gummed  paper  ;  in  these  circumstances,  there  is  nothing  to 
fear  from  the  carelessness  of  printers  in  permitting  negatives  or 
vignettes  to  slip  when  changing  the  paper,  and  thus  getting  the 
picture  out  of  the  centre.  As  "Forest  Hill  prints  for  a  score  of 
branches,  it  is  very  necessary  to  put  a  distinguishing  mark  on 
the  prints  as  they  are  produced ;  the  printer  who  withdraws  the 
picture  from  the  frame  does  this,  pencilling  on  the  back  an  initial 
letter  corresponding  to  the  town  whence  the  negative  has  come. 

The  spacious  washing-room  is  next  door.    There  are  three 


MESSRS.  A.  AND  G.  TAYLOR. 


41 


large  washing  troughs  of  wood,  lined  with  lead  and  coated  with 
shellac.  A  huge  rose  above  supplies  the  water,  which,  when 
it  has  risen  to  the  top  of  the  receptacle,  is  emptied  by  a  syphon. 
Blistering  of  the  albumenized  paper  is  almost  unknown  ;  but 
the  addition  of  spirit  to  the  sensitizing  solution,  in  the  propor- 
tion of  about  3  per  cent.,  is  regarded  as  a  preventive  measure 
against  the  disagreeable  phenomenon.  The  printing  is  accom- 
plished under  a  glass  roof,  which,  in  summer  time,  is  covered 
with  tissue  paper. 

We  have  no  time  to  speak  of  the  series  of  printing-rooms, 
mounting-rooms,  sorting-rooms,  &c,  through  which  our  courteous 
guide  leads  us.  It  is  the  club  portrait  that  occupies  all  these 
busy  people — a  collodion  transfer  painted  in  oil ;  the  finished 
production  may  not  have  much  claim  to  rank  as  a  work  of  high 
art,  but  there  is  an  important  point  in  all  these  portraits  that  has 
probably  had  more  to  do  with  Messrs.  Taylor's  great  success  than 
anything  else.  It  is,  that  however  much  dress  and  garments 
may  be  coloured  and  beautified,  face  and  features  are  simply 
covered  with  an  even  wash.  In  other  words,  advantage  is  taken 
of  the  photographic  shadows  that  already  exist  on  the  portrait, 
and  these  supply  sufiicient  contrast,  without  there  being  any 
necessity  to  tamper  with  the  likeness  by  the  application  of 
body-colours. 

In  an  establishment  which  gives  employment  to  between  five 
and  six  hundred  employes,  it  is  necessary  to  have  strict  rules  and 
regulations.    The  hours  of  assistants  are  from  8  a.m.  to  6  p.m. ; 
the  girls,  however,  not  coming  until  9  a.m.    But  six  o'clock  is 
the  maximum  time,  and  many  are  released  from  their  work, 
especially  in  winter,  some  time  before  this.    Wages  vary,  of 
course,  with  the  skill  and  capacity  of  the  assistant ;  but  two 
young  ladies  were  pointed  out  to  us  in  the  painting  room  whose 
average  earnings  were  three  pounds  a  week. 

One  word  on  the  subject  of  collodion  making,  before  we  close 
our  rapid  sketch.    Collodion  is  generally  three  months  old  before 
used,  and  sometimes  is  even  permitted  to  rest  a  year  before  employ- 
ment, Messrs.  Taylor  having  a  firm  belief  in  a  ripe  material.  It  is 
all  made  on  the  premises.    The  pyroxylin  employed  is  half  high, 
and  half  low,  temperature  material.    These  are  the  proportions  : 
Pyroxylin       ...       ...       ...       ...    9  ounces 

Ether  ...       ...       ...       •..    4  gallons 

Alcohol  ...  3  „ 


42 


STUDIOS  IN  LONDON. 


In  twenty-four  hours  dissolution  is  complete,  and  the  collodion 
is  then  turned  into  a  mixing  stone  cask,  having  the  tap  half  way 
up.  Here  it  remains  a  week  or  more  to  settle,  and  is  then  drawn 
off  and  put  into  other  stone  jars,  where  it  remains  till  required 
for  use.  As  only  half  the  contents  of  the  mixing  cask  can  be 
drawn  off  at  a  time  (since  the  cock  is  half  way  up),  freshly-made 
collodion  is  always  mixed  with  a  proportion  of  old.  In  a  word, 
the  collodion  is  treated  in  precisely  the  same  way  as  connoisseurs 
treat  their  whiskey,  who  by  this  means  are  able  to  detect  a  flavour 
of  the  old  "cratur  "  in  every  new  supply. 


MESSES.  ELLIOTT  &  FEY  AT  BAKEE  STEEET. 

There  is  a  comfortable  look  about  the  Talbotype  Gallery  in 
Baker  Street,  at  once  reassuring  to  the  visitor.  If  we  are  to 
suppose  that  sitters  are  for  the  most  part  in  an  uneasy,  not  to  say 
excited,  state  of  mind  when  they  enter  a  studio,  there  is  much  in 
the  establishment  of  Messrs.  Elliott  and  Fry  to  allay  such  feel- 
ing. There  are  no  reception  rooms,  in  the  usual  acceptation  of 
the  term.  The  visitor  walks  upstairs  from  the  vestibule,  and 
finds  himself  in  a  gallery  of  paintings  and  photographs.  The 
pictures,  too,  are  of  such  a  character  as  to  at  once  attract  atten- 
tion. Here  is  the  painting  that  brought  Hubert  Herkomer  his 
gold  medal  at  the  Paris  Exhibition,  and  had  very  much  to  do 
with  securing  him  the  coveted  A. E.A.,  "The  Last  Muster,"  a 
scene  at  Chelsea  Hospital.  Another  painting,  equally  fine,  if 
smaller,  "  Im  "Walde,"  by  the  same  artist,  also  graces  the  walls 
of  the  first  gallery,  with  other  fine  productions ;  while  as  we 
progress  through  the  establishment  other  no  less  worthy  pictures 
meet  the  eye.  Mr.  Fry,  who  courteously  acts  as  cicerone,  is 
evidently  a  great  lover  of  the  young  Scotch  school,  for  we  meet, 
also,  with  some  fine  sea  studies  of  Colin  Hunter,  Peter  McNab, 
and  others. 

It  is  only  when  we  leave  the  first  gallery  and  proceed  to  the 
%   second  and  third,  that  we  come  among  photographs.    It  is  nearly 
\    all  large  work.    There  are  some  fine  carbon  prints  upon  opal  or 
porcelain,  fifteen  by  twelve  and  smaller,  not  only  more  varied  in 
tone  than  collodion  transfers,  but  naturally  more  permanent ; 
enlargements  in  carbon  of  Lord  Chelmsford  "in  his  fighting 


MESSRS.  ELLIOTT  AND  FRY. 


43 


dress,"  a  sort  of  Norfolk  jacket ;  and  next  to  him  two  other  good 
pictures,  the  one  vigorous  and  forcible,  the  other  soft  and  har- 
monious to  a  degree,  representing  the  brave  and  the  fair — Evelyn 
Wood  and  Eveleen  Bayne.  6 '  We  try  to  show  what  photography 
can  do  in  vieing  with  painting  in  the  production  of  large  artistic 
portraits,"  said  Mr.  Fry  ;  and  we  think  photographers  would  run 
portrait  painters  hard  if  they  all  succeeded  as  well  as  the  eminent 
Baker  Street  firm.  There  is  a  striking  portrait  of  the  violinist 
"Wilhelmj — or,  as  the  British  poblic  choose  to  call  him,  William  J. 
— and  the  last  picture  taken  in  England,  genial  and  bright,  of 
the  Prince  Imperial  in  evening  dress.  If  an  enlargement  is  to 
be  made,  Mr.  Fry  prefers,  if  possible,  to  secure  a  cabinet  picture 
in  lieu  of  a  carte. 

"We  will  go  upstairs.  Shall  we  inquire  terms  at  the  little 
mahogany  counter  before  we  proceed  to  the  studio  ?  The  brass 
rail  and  busy  clerks  behind  it  suggest  a  bank,  and  we  will  hope 
that  it  is  as  good  as  one  to  the  proprietors.  A  guinea  is  the 
stipulated  fee,  and  in  these  days,  when  half  that  sum  is  charged 
at  any  fashionable  theatre  in  town  for  a  stall,  we  think  it 
exceedingly  reasonable.  To  judge  from  what  one  sees,  having 
your  portrait  taken  is  deemed  by  many  an  amusement  a  la  mode, 
and  there  can  be  no  doubt  that  ladies  at  the  West  End  will  pass 
an  hour  in  a  studio  pour  se  distraire.  The  guinea  entitles  the 
sitter  to  a  dozen  and  a-half  cartes,  or  six  cabinets.  There 
is  a  clause  about  children  :  "  Children  under  eight  are  charged 
half" — so  the  circular  says,  and  we  make  a  point  of  the  statement, 
because  Messrs.  Elliott  and  Ery  are,  we  believe,  the  first  who  have 
had  the  courage  to  make  the  announcement— "  are  charged  half- 
a-guinea  extra  for  the  first  set." 

The  studios  are  three  in  number  :  one,  the  smallest,  is  well 
adapted  for  vignettes,  the  others  are  of  larger  size.  There  was 
everything  of  the  best  downstairs,  so  we  naturally  supposed  there 
would  have  been  a  north-light  studio:  But  Messrs.  Elliott  and 
Ery  did  not  build  Baker  Street ;  they  had  to  take  it  as  they  found 
it.  Their  light  is  easterly.  There  is  not  only  top  side-light, 
but  actually  top  light ;  but  the  latter,  Mr.  Fry  assured  us,  was 
never  used  in  taking  gentlemen  with  bald  heads.  It  is  needless 
to  say  that  every  means  of  shutting  off  the  light  is  at  hand, 
together  with  what  might  be  termed  palm-leaf  screens,  which 
may  be  stood  anywhere.  Of  backgrounds  there  were  twenty- 
six  in  one  studio,  and  notwithstanding  the  experience  already 


44 


STUDIOS  IN  LONDON. 


acquired  in  their  preparation,  there  were,  as  a  rule,  two  back- 
grounds rejected  for  every  one  kept.  A  fine  Windsor  Park 
picture — painted  in  distemper,  of  course — with  a  soft  shadow 
falling  from  the  trees  in  mid  distance,  was  a  successful  example 
of  a  background. 

The  main  feature  of  the  studios  was  an  elongated  canopy 
stretched  over  the  cameras.  This  canopy  was  no  less  than  twelve 
feet  long  in  one  of  the  studios,  so  that  the  photographer  looked 
through  a  sort  of  tunnel  of  this  magnitude  at  his  sitter.  Every 
one  has,  of  course,  employed  means  for  shading  the  camera,  but 
we  have  never  seen  it  carried  to  such  an  extent,  nor  carried  out 
so  successfully. 

The  rule  of  the  establishment  is  to  keep  the  sitter  the  shortest 
possible  time  in  the  glass  room.  Ten  minutes,  and  sometimes 
five,  suffice.  "  You  cannot  have  secured  a  good  portrait,  for  I 
was  only  taken  twice  during  the  few  moments  I  was  in  the  glass 
room — sometimes  they  take  ten  or  fifteen  of  me,"  is  not  unfre- 
quently  the  remark  made  to  Mr.  Fry,  who  prefers  to  get  his 
sitters  thoroughly  at  ease  before  they  go  into  the  studio  at  all. 
His  dressing  rooms  are  fitted  up  especially  to  this  end  ;  we  went 
into  seven  of  them,  and  they  were  all  hung  round  with  paintings, 
without  a  single  photograph  to  remind  the  victim  of  what  he 
shortly  would  come  to.  The  rooms  were  admirably  appointed — 
that  goes  without  saying ;  but  what  will  the  reader  say  when 
he  hears  that  gems  by  David  Cox,  Birkett  Foster,  J.  D.  Watson, 
and  other  celebrities  adorn  the  walls  in  profusion  ?  We  should 
not  like  to  say  the  sum  at  which  the  paintings  in  the  Talbotype 
Gallery  are  insured  for,  lest  we  may  be  taxed  with  exaggeration, 
but  we  have  said  enough  to  show  that  they  are  of  considerable 
value. 

Cabinet  pictures  are  evidently  still  the  favourite  format  here, 
but  the  promenade  is  making  way  slowly  and  surely.  At  first  it 
was  proposed  to  call  it  the  "  Court  portrait,"  but  it  is  not  always 
in  this  world  as  "  man  proposes."  The  promenade,  unmounted, 
measures  seven  and  three-quarters  by  three  and  three-quarters, 
and  is  mounted  on  cards  supplied  by  Marion,  having  dark  mar- 
gins and  gold  bevelled  edges.  Albums  are  already  being  made 
for  the  promenade,  and  such  portraits  should,  if  mounted  panel- 
like, three  in  a  page,  make  a  handsome  show. 

The  negative  rooms  afford  subject  for  more  wonder.  There 
are  four  rooms  stored  with  them,  and,  strange  to  say,  not  packed 


MR.  WALTER  WOODBURY. 


45 


in  paper,  but  loose  and  open  in  grooves.  !No  special  care  in 
respect  to  heat  or  damp  is  taken,  and  the  negatives  do  not  suffer. 
Rising  of  the  film  or  worm-marks  are  unknown,  for  Mr.  Pry- 
thinks  that  if  negatives  are  properly  varnished  they  run  no  risk. 
Yellow  shellac  varnish  is  employed. 

The  printing  is  done  at  a  branch  establishment  at  Earnet, 
where  both  silver  and  carbon  work  is  carried  on.  Retouching  is, 
of  course,  resorted  to  when  necessary,  and  is  for  the  most  part 
carried  out  with  a  lead  pencil  upon  the  film.  We  should  not 
like  to  say  how  many  the  personnel  of  the  establishment  musters, 
but  they  include  several  foreign  artists  of  considerable  ability. 

Gelatine  plates  are  already  well  known  here  in  the  studio,  and 
the  difficulties  of  development  are  now  things  of  the  past.  To 
stop  the  light  of  his  dark-rooms,  Mr.  Pry  has  found  that  paper 
saturated  with  uranium,  and  treated  to  a  single  coating  of  boiled 
oil,  sufficiently  protects  the  film  during  development,  and  he  has 
no  difficulty  in  securing  pictures  with  one-tenth  of  the  exposure 
given  to  a  wet  plate. 


ME.  WALTER  WOODBURY  AT  SOUTH  NORWOOD. 

If  we  divide  the  history  of  photography  into  two  periods,  that 
which  preceded  collodion  upon  glass,  and  that  which  has 
followed  it,  we  shall  find  in  the  second  era  no  name  more 
prominent  than  that  of  Mr.  Walter  Woodbury.  Woodburytype, 
to  the  modern  photographer,  is  as  "  familiar  in  his  mouth  as 
household  words,"  and  is,  and  apparently  will  be,  for  many 
years  to  come,  the  only  photo-engraving  process  of  practical  and 
commercial  value.  What  a  fortunate  idea  to  light  upon,  many 
have  thought  in  becoming  acquainted  with  Woodburytype  for 
the  first  time,  and  how  lucky  Mr.  Woodbury  was  to  have  con- 
ceived it !  Eew  consider  the  matter  seriously,  nor  dream  that 
there  have  been  tedious  experimenting  and  elaborate  labours 
preceding  the  work. 

Mr.  Woodbury  appears  to  have  never  been  without  a  camera 
since  he  was  old  enough  to  carry  one.  Articled  to  a  civil 
engineer,  he  had  barely  served  his  time,  than  he  went  off  to 
Australia,  when  thirty  years  ago  the  popular  tide  set  in  that 
direction.    Like  Moses  with  the  green  spectacles,  he  forthwith 


46 


STUDIOS  IN  LONDON. 


purchased  a  camera  with  his  available  cash — about  the  most 
useless  thing  he  could  possibly  buy,  without  chemicals  and 
other  necessaries  for  the  taking  of  photographs.  However,  the 
latter  were  afterwards  acquired,  when  Mr.  Woodbury  had 
suffered  some  of  those  vicissitudes  which  the  bard  tells  us 
"  acquaint  a  man  with  strange  bed-fellows.' '  Indeed,  so  success- 
ful was  he  with  his  camera,  when  once  firmly  on  his  feet,  that 
in  1854  the  prize  medal  was  awarded  to  him  for  photography  in 
the  Australian  Colonies. 

Quitting  Australia,  we  find  Mr.  "Woodbury  in  1857  and  1858 
in  J ava,  taking  pictures  for  the  Sultan,  and  to  prove  how  well 
these  were  executed,  we  have  but  to  refer  the  reader  to  the 
charming  transparencies  of  scenery  in  the  Tropics,  published  in 
1859  by  Negretti  and  Zambra.  We  were  looking  at  a  series 
the  other  day  of  these  glass  stereoscopic  slides,  the  photographs 
printed  upon  albumen,  and  we  fearlessly  assert  that  nothing  of 
the  kind  which  has  been  produced  in  recent  years  excels  the 
delightful  pictures  of  luxuriant  foliage  and  eastern  vegetation 
which  Mr.  Woodbury  produced  nearly  a  quarter  of  a  century 
ago. 

What  is  this  curious  little  picture  Mr.  Woodbury  brings  to 
us  ?  It  is  in  a  tiny  frame,  and  represents  a  table  decked  with 
fruit  and  flowers,  coloured  vases,  and  gilded  ornaments.  It  is  a 
photograph,  and  yet  it  is  resplendent  in  colours.  Mr.  Woodbury 
laughingly  strips  off  the  backing,  and  then  we  find  it  is  a  Wood- 
bury transparency  on  glass,  with  a  roughly-coloured  ground 
beneath.  It  was  made  in  1868,  and  represents  one  of  the 
earliest  examples  of  this  kind  of  work — a  photographic  image 
over  a  coloured  groundwork — which,  from  that  day  to  this, 
has  been  brought  before  the  public  under  one  name  and  the 
other.  The  French  patented  process,  of  which  we  have  heard 
so  much  lately,  about  photographies  des  couleurs  impressionees 
par  la  lumiere,  is,  of  course,  simply  one  example  the  more  of  this 
old  dodge. 

But  we  must  come  to  the  present  day.  Mr.  Woodbury  has 
plenty  to  show  us,  and  here  at  Manor  House  he  has  laboratory 
and  workshops  full  of  interesting  matters.  This  oblong  little 
box  standing  on  end,  about  fourteen  inches  high,  and  six  inches 
broad,  is  Mr.  Woodbury's  balloon  apparatus.  It  is  not  difficult 
to  explain.  It  is  carried  into  the  air  by  a  small  balloon,  which 
is  tethered  to  the  ground  by  an  electric  wire.    It  hangs  down 


ME.  WALTER  WOODBURY. 


47 


from  the  balloon  exactly  in  the  position  in  which  we  see  it 
standing  upright  on  the  table.  The  lens  is  uncapped  at  will  by 
a  revolving  disc,  which  revolves  once  every  time  the  operator 
sends  an  electric  current  from  below.  He  sees  when  the  balloon 
has  done  gyrating,  and  between  the  turns  makes  his  exposure. 
He  can  make  four  exposures  at  every  ascent  of  the  balloon,  for 
he  has  four  plates.  These  four  plates  are  fixed  to  four  faces  of 
a  cube,  and  this  cube  also  makes  one  quarter  turn  (bringing 
another  face,  or  plate,  into  position)  whenever  the  operator  sends 
an  electric  current  up  to  the  balloon  from  the  earth.  The 
system  has  the  double  advantage  that  only  a  small  balloon  is 
necessary,  and  that  no  risk  is  incurred  by  an  aeronaut ;  for 
according  to  recent  experience,  there  seems  to  be  no  diffiulty 
about  bringing  down  a  war  balloon  if  you  can  get  a  cannon 
within  two  thousand  yards  of  it. 

"  What  a  capital  workshop  you  have  here  !  "  we  say;  it  is 
divided  into  four  compartments  for  workmen,  a  broad  passage 
running  along  at  right  angles  to  the  divisions.  4  i  It  is  a  very 
useful  one,"  says  our  host,  and  then  he  adds,  briefly,  "  I  made  it 
out  of  a  four-stalled  stable.' '  And  so  he  had;  verily  Mr. 
Woodbury  is  an  inventor  to  some  purpose. 

Mr.  "Woodbury  took  out  his  patent  for  Woodburytype  in 
1864,  but  he  no  longer  practises  it  in  its  original  form  ;  the 
process  is  now  reduced  to  a  very  simple  matter,  Mr.  Woodbury 
proceeds  to  show  us.  As  our  readers  know  very  well,  this 
modified  process  has  already  appeared,  and  what  we  are  about 
to  describe  is  therefore  nothing  new.  Indeed,  we  have  no 
doubt  that  anybody  interested  in  the  subject  would  be  quite 
as  welcome  to  witness  the  simplified  process  as  we  were. 
Seeing  is  believing,  however,  and  it  was  for  this  reason  that 
we  begged  Mr.  Woodbury  to  receive  us. 

Imprimis,  Mr.  Woodbury  takes  a  piece  of  carbon  tissue  and 
prints  a  picture  upon  it.  This  picture  he  develops  upon  a 
piece  of  glass — patent  plate  glass.  He  has  now,  therefore,  to 
all  intents  and  purposes  a  carbon  transparency,  which  every 
carbon  printer  knows  how  to  produce.  This  carbon  trans- 
parency, still  on  glass,  is,  when  dry,  rubbed  over  with  a  little 
pomatum,  and  then  a  sheet  of  tin-foil  put  upon  it.  The  two 
are  now  run  through  a  small  rolling  press,  such  as  every  photo- 
grapher possesses,  with  the  result,  of  course,  that  the  tin-foil 
is  pressed  into  the  carbon  print. 


48 


STUDIOS  IN  LONDON. 


The  carbon  print,  with  its  facing  of  tin-foil,  is  next  care- 
fully put  into  an  electrotyping  bath,  where  it  is  left  for  some 
hours.  Copper  deposits  itself  all  over  the  tin-foil,  and  when 
the  plate  is  raised  from  the  bath,  instead  of  presenting  a  shining 
silver  surface,  it  is  covered  with  beautiful  red  copper. 

Now  for  the  next  step.  A  thick  slab  of  glass  covered  with 
resin  is  put  upon  an  oven  or  water-bath  to  warm.  The  resin 
melts  so  that  the  top  surface  is  adhesive.  Under  these  circum- 
stances, we  take  the  electrotyped  plate  and  press  the  copper 
surface  firmly  upon  the  resined  glass.  The  whole  is  now 
cooled,  and  there  remains  attached  to  the  glass  block  the 
copper  and  the  tin-foil ;  the  carbon  transparency  comes  away. 
You  see  the  sheet  of  tin-foil  now,  and  find  it  has  taken  a  cast  of 
the  carbon  transparency,  and  this  cast  or  mould,  backed  up  by 
the  copper  and  the  resined  plate,  represents  the  printing  block. 
From  this  printing  block  prints  may  then  be  taken  in  trans- 
parent ink,  in  the  ordinary  well-known  manner. 

The  carbon  transparency  which  comes  away  so  easily, 
thanks  to  its  treatment  with  a  little  pomatum,  may  be  used 
again  and  again  for  the  preparation  of  printing  blocks,  so  that  a 
dozen  may  be  made,  if  necessary,  without  difficulty.  No 
special  apparatus  whatever  is  necessary  except  the  actual 
printing-press  (which  is  a  very  simple  matter),  and  a  battery. 
Provided  with  these,  any  photographer  might  begin  "Woodbury 
printing  to-morrow. 

An  ingenious  little  apparatus  which  Mr.  "Woodbury  has  to 
aid  him  in  his  work  deserves  description.  It  is  a  veritable 
multum  in  parvo.  It  is  a  small  iron  casting,  measuring  about 
twelve  inches,  and  its  framework  represents  a  levelling  stand. 
Place  over  it  an  iron  plate,  and  below  a  spirit  lamp,  and  it  yields 
a  hot  plate  for  coating  the  glass  block  with  resin.  Put  upon 
the  iron  plate  a  little  oblong  vessel  filled  with  water,  and  there 
is  at  hand  a  water-bath,  useful  for  melting  the  resin  (a  lower 
temperature  being  now  necessary),  to  affect  the  adhesion  of  the 
electro  plate  ;  again,  this  little  water-bath  may  be  removed,  and 
a  deep  upright  vessel  substituted,  also  to  contain  warm  water, 
but  with  a  grooved  interior,  employed  for  the  development  ot 
the  carbon  prints. 

Paris,  it  seems,  has  been  taking  up  the  modified  Woodbury 
process  very  warmly ;  so  little  apparatus  is  required,  and  the 
manipulations  have  been  so  much  simplified,  that  the  photo- 


MR.  WALTER  WOODBURY.  49 

grapher  has  it  in  his  own  hands  now  to  multiply  impression s, 
and  print  them  by  photo-engraving.  Hutinet  and  Lamy,  of 
Paris,  are  occupying  themselves  with  the  manufacture  of  the 
carbon  tissue,  &c,  and  photographers  of  high  rank — like  Nadar, 
and  others — are  seriously  setting  to  work  to  print  in  Woodbury- 
type  instead  of  silver. 

About  the  preparation  of  the  printing  ink,  in  respect  to  which 
a  good  deal  of  mystery  has  been  made,  we  may  mention  that  it 
is  but  gelatine  and  water  with  any  colour  added,  such  as  Indian 
ink,  or  alizarine ;  in  summer  one-fifth  to  one-sixth  gelatine  to 
water,  in  winter  more  water.  The  ink  is  kept  warm  in  the 
water-bath  we  have  spoken  of. 

Lastly,  here  is  the  filigrain  process.  u  I  call  this  the  cheapest 
photographic  image  ever  made,"  says  Mr.  Woodbury ;  he  takes  a 
carbon  print  developed  on  paper,  hard  and  dry,  of  course,  and 
sends  it  through  the  little  rolling-press,  in  company  with  a  sheet 
of  plain  paper.  The  consequence  is  that  when  the  latter  comes 
out,  it  has  a  water-mark  of  the  same  design  as  the  carbon  print 
with  which  it  has  been  pressed  in  contact.  Any  design  may  be 
thus  impressed.    Here  are  visiting-cards  with  the  portrait  of 


the  visitor  to  be  seen  if  you  hold  them  up  to  the  light ;  writing 
paper  with  all  sorts  of  fancy  designs ;  trade-marks,  labels,  &e. 
Eiligrain,  if  it  is  the  simplest,  is  also  the  most  fascinating  of 
"Wbodburytype  applications. 

E 


50 


STUDIOS  IN  LONDON. 


Photographers  working  any  process  where  gelatine  is  used, 
whether  in  the  making  of  dry  plates,  working  the  carbon,  Wood- 
bury, dusting-on,  or  collographic  processes,  should  be  provided 
with  a  hygrometer,  of  some  sort  or  other,  to  test  the  amount  of 
moisture  in  the  room  they  are  working  in.  Mr.  Woodbury  has 
devised  a  very  simple  form,  which  is  shown  in  the  diagram 
(page  49),  and  can  be  made  by  anyone  in  a  few  minutes.  It  is 
constructed  of  two  pieces  of  wood,  one  forming  a  base 
to  support  the  other.  In  the  upright  piece  a  notch  is  made  with 
a  fine  saw,  about  half-way  up,  and  in  this  is  inserted  a  piece  of 
carbon  tissue,  about  four  inches  long  and  an  inch  broad.  At  the 
back  is  tacked  a  piece  of  card  with  a  scale  marked  on  it,  the 
lowest  number  representing  100,  and  the  highest  zero. 

With  a  moderate  amount  of  moisture,  the  paper  will  remain 
almost  horizontal,  in  a  very  damp  atmosphere  will  take  the 
curve  of  the  lower  dotted  line,  and  in  an  excessively  dry  state 
of  the  air  will  curl  upwards  as  in  the  higher  one.  In  combina- 
tion with  thermometric  observations,  probable  changes  in  the 
weather  may  also  be  foretold  by  it. 


MESSRS.  HILLS  &  SAUNDERS  AT  PORCHESTER  TERRACE. 

Some  years  ago,  when  cabinet  pictures  were  more  of  a  novelty 
than  they  are  now,  a  practised  amateur  of  our  acquaintance  used 
to  exhibit  on  his  mantelpiece  two  well-finished  prints  which  he 
considered  representative  photographs  of  English  and  Erench 
portraiture.  The  one  was  bright,  clear,  and  well  modelled,  a 
cabinet  portrait  from  Reutlinger's  studio  on  the  Boulevard 
Montmatre ;  it  represented  one  of  the  actresses  of  the  Palais 
Royal,  and  although,  no  doubt,  a  good  deal  of  retouching  had 
been  done  to  the  negative,  the  picture  was  full  of  esprit  and 
"  go,"  and  altogether  a  delightful  result  to  look  upon.  The 
British  portrait  did  not  pretend  to  such  vivid  clearness ;  it  was 
more  sketchy  than  vigorous,  and  was  soft  and  delicate  to  a 
degree.  It  was  that  of  a  lady  in  a  deer-stalker's  hat,  with  fair 
curls,  the  features  rounded,  and  the  hair  as  soft  as  silk — a 
happy  portrait  of  the  late  Miss  Amy  Sheridan,  and  the  work 
of  Messrs.  Hills  and  Saunders. 
Messrs.  Hills  and  Saunders  have  always  taken  high  rank  in 


MESSRS.  HILLS  AND  SAUNDERS. 


51 


London.  They  may  be  found  "  at  home 99  at  other  places  besides 
Bays  water,  at  Eton,  Aldershot,  Sandhurst,  Oxford,  and  Cam- 
bridge ;  but  the  studio  in  Porchester  Terrace  is,  we  believe,  the 
head-quarters.  We  have  said  studio,  but  the  word  is  something 
of  a  misnomer.  Any  casual  passer-by  would  fail  to  recognize 
the  exterior  as  that  of  an  eminent  firm  of  photographers,  and 
when  the  visitor  has  rung  the  bell  and  been  ushered  into  the 
drawing-room,  the  fact  is  no  more  apparent.  There  are  a  good 
many  photographs  on  the  walls.,  and  several  albums  on  the  table, 
but  scarcely  more  than  you  would  find  in  the  reception-room  of  a 
private  gentleman.  If  Messrs.  Hills  and  Saunters  will  excuse  the 
remark,  there  seemed  to  us  an  amateur- business-like  aspect  about 
the  place,  which  certainly  had  this  effect,  that  it  set  the  visitor 
at  his  ease,  and  did  away  with  all  formality  and  nervousness. 

The  enlargements  to  be  seen  were  none  of  them  on  a  very 
large  scale,  but  all  exhibited  a  soft,  pear-like  tone  that  was 
difficult  to  understand  at  the  first  moment.  They  were  one  and 
all  pictures  upon  porcelain,  or,  rather,  pot-metal.  Some  were 
by  the  carbon  process,  the  medal  picture  to  which  we  have  just 
alluded  being  one  of  these ;  but  the  majority  had  been  secured 
by  the  aid  of  the  powder  process.  Finely-grained  opal  glass  was 
the  basis  in  all  cases,  the  ground  surface  permitting  the  artist 
to  touch  with  stump  or  brush  without  previous  varnishing.  The 
powder  process  practised  by  Messrs.  Hills  and  Saunders  does  not 
differ  in  the  main  from  that  detailed  by  Mr.  Valentine  Blanchard 
(p.  61).  But  there  is  this  particular  precaution  to  be  taken,  Mr. 
Cowan  tells  us  (whom,  by  the  way,  by  a  breach  of  good  manners, 
we  have  failed  hitherto  to  introduce  to  our  readers),  namely, 
that  hand-ground  opal  is  chosen.  A  cheap  form  of  grinding  has 
lately  been  introduced,  by  directing  a  blast  of  fine  sand  against 
the  opal  surface,  which,  however  well  it  may  answer  for  other 
purposes,  is  not  suitable  for  the  preparation  of  a  glass  surface 
that  is  to  serve  for  photographic  work  of  this  kind.  The  sand 
particles  are  not  equal  in  their  action,  and  the  consequence  is 
that  the  surface  is  pitted  here  and  there.  It  requires  no  mag- 
nifier to  show  these  minute  cavities,  which  can  be  well  seen  on 
closely  examining  a  glass  surface  held  horizontally  towards  the 
light,  and  pigment  lodged  in  these  cavities  is  very  apt  to  leave 
the  glass  surface  subsequently ;  a  hand-ground  plate,  on  the 
contrary,  has  a  matt  milky  appearance,  with  a  surface  perfectly 
free  from  such  imperfections. 


52 


STUDIOS  IN  LONDON. 


The  cabinet  portrait  is  the  favourite  format  still  at  Porchester 
Terrace,  and  Mr.  Cowan,  in  turning  over  the  leaves  of  a  large 
album,  showed  how  the  backgrounds  in  every  case  were  diffe- 
rent. "  Oh,  I  know  where  you  had  that  taken ;  that's  So-and- 
so's  background !  "  is  a  remark  not  unfrequently  heard  ;  but  at 
Bayswater,  by  the  simple  arrangement  of  a  few  ferns,  dried 
palms,  grasses,  and  rustic  fencework,  no  two  pictures  are  ever 
alike.  Moreover,  if  it  is  a  question  of  enlargement  afterwards, 
these  grasses,  &c,  help  to  avoid  a  lot  of  retouching. 

Leaving  the  drawing-room  by  folding  doors,  you  pass  through 
an  ante-room  into  what  was  evidently  a  conservatory  once  upon 
a  time,  but  is  now  a  well-lighted  glass-room  of  wonderful 
capacity.  Here  again  the  visitor  feels  at  his  ease  ;  there  is  no 
trudging  up  a  flight  of  stairs,  and  getting  hot  and  flurried  in 
the  process ;  you  might  pass  into  the  studio  without  knowing  it, 
if  it  was  not  for  a  curious  sort  of  camera  that  stands  in  the  path, 
and  never  takes  his  glassy  eye  off  you.  "  We'll  teH  of  you, 
my  fine  fellow  I"  was  the  idea  that  occurred  to  us,  and  we  shall 
now  do  so. 

This  camera  lives  alone  by  itself.  Mr.  Cowan  told  us  in  con- 
fidence, and  we  repeat  the  secret  under  the  same  reserve,  that 
there  was  no  other  camera  in  the  studio.  This  is  not,  we  believe, 
because  Messrs.  Hills  and  Saunders'  means  are  inefficient  to 
provide  a  second  instrument,  so  much  as  that  the  one  now  in.' 
possession  of  the  floor  of  the  studio  has  no  rival.  We  ourselves 
observed  him  work  his  optic  more  than  once,  without  any  visual 
agency,  just  to  intimate  what  he  could  do  when  he  tried;  while 
his  ability  to  secure  a  carte  or  cabinet  or  a  ten-inch  plate  is  only 
equalled  by  the  readiness  with  which  the  base-board  can  be 
elongated,  and  his  body  converted  into  a  copying-camera,  when 
he  goes  on  reproducing  cliches  without  making  the  least  diffi- 
culty about  it.  Despite  its  solidity,  this  occupant  of  the  glass 
room  turned  with  considerable  ease ;  near  its  foot  were  two  cells 
of  an  electric  battery  which  supply  its  vitality,  and  cause  either 
a  drop-shutter  to  fall,  or  a  cap  to  be  lifted,  in  obedience  to  its 
master's  wish.  The  latter,  provided  with  electric  wires,  may,  as 
in  the  case  of  the  Cadett  shutter,  move  to  some  distance  from  the 
camera,  and  approach  and  talk  to  the  sitter  while  he  exposes 
his  plate.  To  describe  intelligibly  the  clever  electrical  arrange- 
ment which  Mr.  Cowan  has  ingeniously  brought  to  bear  would 
be  impossible,  nor  would  it  serve  any  useful  purpose,  since  to 


MESSES.  HILLS  AND  SAUNDERS. 


53 


viise  such  an  instrument  a  man  must  be  something  of  an 
electrician, 'and  if  he  is  this,  he  would  probably  do  his  best  to 
-contrive  a  plan  of  his  own.  The  making  and  breaking  of  con- 
tact, and  magnetising  and  de-magnetising  of  a  piece  of  iron,  is,  of 
course,  the  principle  upon  which  the  actions  rest ;  most  people 
know  that  if  you  twist  wire  round  a  bit  of  soft  iron,  this  soft 
iron  will  become  a  magnet  any  time  that  an  electric  current 
passes  through  the  wire.  The  electric  current,  in  encircling  the 
iron,  magnetises  it ;  break  the  current,  and  on  the  instant  the 
iron  loses  its  magnetic  virtue.  Mr.  Cowan  simply  makes  use  of 
electro-magnetism,  or  magnetism  evolved  from  electricity,  to 
work  his  camera. 

Cabinet  and  carte  plates  are  made  interchangeable  in  a  simple 
way.  The  back  of  the  camera  is  a  flat  circular  disc  which 
revolves ;  it  is,  in  fact,  very  similar  to  a  turn-table  on  a  railway, 
only  it  is  perpendicular  instead  of  being  horizontal.  There  are 
a  pair  of  rails — or  grooves,  rather — running  across  the  turn-table, 
and  into  these  grooves  is  slipped  the  dark-slide.  If  a  cabinet  is 
wanted  the  plate  stands  on  end  (fig.  1). 


Fig  1, 


If  cartes  are  desired,  the  table  is  turned,  and  the  dark-slide 
stands  ready  for  securing  three  cartes  (fig.  2). 

The  glass-room  may  be  said  to  be  two  rooms  joined  at  right 
angles,  and  so  favourably  situated  in  respect  to  a  north  aspect, 
that  it  is  frequently  possible  to  work  without  blinds  at  all.  A 
blue  banner  screen,  some  two  feet  square,  stretched  stiff,  and 


54 


STUDIOS  IN  LONDON. 


borne  upon  a  pedestal,  so  that  it  may  be  suitably  adjusted  over 
the  head  of  the  sitter,  is  in  some  cases  the  only  shade  employed 
in  the  studio.  Mr.  Cowan  has  no  great  faith  in  Seavey's  back- 
grounds ;  his  own,  he  tells  us,  are,  for  the  most  part,  painted 
for  five  shillings  a-piece,  by  an  old  hand  who  has  been  a  scene- 
painter  in  his  day.  Bather  than  the  conventional  drab-grey 
usually  affected  in  backgrounds,  a  warm  brown  or  brownish-grey 
is  the  tint  preferred.    The  backgrounds  are  of  various  kinds ; 


there  is  one  with  rollers  top  and  bottom,  an  endless  panorama  ; 
others  moving  in  grooves,  as  if  they  were  wings  at  a  theatre  ; 
and  a  third  description  that  is  hinged,  and  acts  like  a  practical 
door. 

"We  were  shown  the  properties  wherewith  all  the  rustic 
changes  to  be  seen  in  Messrs.  Hills  and  Saunders'  cabinet  pic- 
tures are  carried  out.  Hay,  dried  grasses,  dead  palm  leaves, 
together  with  a  few  growing  plants  in  pots,  and  some  branches 
and  twigs,  comprised  the  whole.  "  We  throw  nothing  away," 
said  our  host,  taking  up  a  brown  palm  leaf  from  the  floor;  "  we 
only  take  care  to  change  the  arrangement  with  every  picture." 

"We  have  scarcely  time  to  speak  of  the  laboratory  and  dark- 
rooms. Gelatine  plates  are  in  constant  requisition  at  Porchester 
Terrace,  but  so  are  wet  plates.  The  ordinary  dipping  bath  is 
not  to  be  seen  at  all  here;  the  sensitizing  baths  are  of  a 
horizontal  character,  swinging  on  pivots,  of  the  same  nature  as 
those  we  described  at  the  Autotype  Company's  works.  The 


CAPTAIN  ABNEY. 


55 


interior  is  of  paraffined  wood,  and  they  possess  the  advantage 
that  less  silver  solution  is  needed,  while  the  plates  are  permitted 
to  drain  more  effectually. 

"  One  guinea  for  the  sitting,  which  must  in  all  cases  be  paid 
at  the  time,'7  is  a  notice  we  extract  from  the  card  of  Messrs. 
Hills  and  Saunders,  and  for  this  guinea  the  sitter  may  take  his 
choice  of  twelve  cartes-de-visite,  twelve  vignettes,  twelve 
medallions,  six  cabinets,  or  four  boudoir  pictures.  Proofs  are 
generally  sent  out  the  same  evening,  but  always  in  an  untoned 
and  unmounted  condition. 


CAPTAIN  ABNEY  AT  SOUTH  KENSINGTON  MUSEUM. 

Ik  a  remote  corner  of  the  vast  establishment  which  has  grown  up 
of  late  years  at  South  Kensington,  among  the  workrooms  and 
repairing  lobbies,  where  works  of  art,  statuary,  models,  pictures, 
&c,  are  setup,  and  generally  put  to  rights,  prior  to  their  admis- 
sion into  the  bright  galleries  of  the  Museum — behind  the  scenes, 
as  it  were,  of  the  spectacular  entertainment  which  is  provided 
for  the  London  public  on  such  very  cheap  terms — is  to  be  found 
one  of  the  laboratories  of  Solar  Physics.  To  come  upon  this 
laboratory,  as  we  did,  after  traversing  a  quarter  of  a  mile  of 
brilliant  glass  cases  and  polished  floor,  of  pleasant  pictures, 
shining  vases,  and  gorgeous  war  trophies  that  tempted  one  to 
linger  at  every  step— to  be  ushered,  we  say,  after  this,  into  a 
sort  of  backstairs  and  lumber  room  department,  was  not  agree- 
able. There  was  a  cold,  draughty,  unfurnished  look  about  the 
place,  that  caused  you  to  wish  yourself  back  again  in  the  Museum 
itself ;  and  it  wanted  all  Captain  Abney's  warm  reception  and 
welcome  to  dispel  these  very  unpleasant  feelings. 

To  say  that  Captain  Abney  was  busy  photographing  the  red 
end  of  the  spectrum,  when  we  entered,  need  scarcely  be  set  down ; 
it  is  but  a  matter  of  course.  We  believe, ♦in  fact,  that  the  region 
of  the  red  is  now  universally  admitted  to  be  his  own  private 
domain ;  at  any  rate,  there  are  very  few  physicists  who  would 
care  to  dispute  the  matter  with  him. 

It  is  not  so  long  ago,  despite  Sir  John  Herschell's  dictum, 
that  the  photographing  of  the  lines  in  the  red  end  of  the 
spectrum  was  regarded  as  an  impossibility  ;  but,  thanks  to  our 


56 


STUDIOS  IN  LONDON. 


advanced  physicists,  and  particularly  to  Captain  Abney,  the 
ultra-red  can  now  be  recorded  upon  a  photographic  plate,  if  not 
as  readily,  at  any  rate  as  accurately,  as  the  violet  and  ultra- 
violet portion  of  the  spectrum. 

His  present  investigations  are  confined  to  photographing  light 
through  various  media,  such  as  water,  alcohol,  glycerine,  &c. 
Just  now  it  is  water,  and  he  passes  his  light  through  a  column 
of  this  medium  no  less  than  five  feet  in  breadth.  There  is  a  long 
table ;  at  one  end  shines  an  electric  light,  and  the  rays  from  this 
light  are  thrown  by  means  of  a  condenser  in  a  horizontal  direc- 
tion through  a  long  tube,  also  placed  horizontally,  filled  with 
water.  At  the  end  of  this  five-foot  tube  is  the  slit  of  the 
spectroscope,  Captain  Abney  employing  on  the  present  occasion 
as  many  as  five  prisms  to  refract  the  rays ;  and  at  right  angles 
to  the  spectroscope  is  the  camera.  We  can  see  the  red  end  of 
the  spectrum  limned  in  soft  delicate  colour  here  on  the  focussing 
screen,  and  remark  how  intense  the  ruddy  glow  is  in  the  centre 
of  the  image ;  it  is,  of  course,  but  an  accident  that  Captain 
Abney's  assistants  should  be  attired  in  the  same  colour,  but  the 
scarlet-coated  Sappers,  as  they  move  about  with  dark  slide  or 
lens,  are  all  in  harmony  with  the  experiment. 

There  are  two  openings  in  the  wall  of  the  laboratory,  which 
appear  at  first  sight  like  tiny  windows  ;  they  are  condensers  for 
the  purpose  of  employing  solar  light ;  and  looking  out  into  the 
open,  you  see  beyond,  the  pedestals  whereupon  stand  the  helio- 
stats,  which  keep  pace  with  the  motion  of  the  sun,  or  rather,  of 
the  earth,  and  permit  a  constant  ray  to  be  reflected  into  the 
laboratory  through  these  condensers  for  hours  together.  In  this 
way  you  may  avail  yourself  very  conveniently  of  the  sun  when 
it  shines,  and  carry  on  solar  work  with  a  degree  of  comfort  and 
convenience  that  experimenters  do  not  always  enjoy  in  pursuing 
their  physical  researches. 

The  dark-room  of  our  photo-chemist  is  capable  of  all  sorts  of 
lighting.  The  collodion  emulsion  employed  for  photographing 
the  red  end  of  the  spectrum  appears  to  be  more  sensitive  than 
the  gelatine  film,  and  very  little  light  indeed  is  employed  during 
its  manipulation.  So  far  as  gelatine  work  is  concerned,  we  may 
inform  our  readers  that  Captain  Abney  employs  a  gas  jet  with 
a  glass  globe,  which  globe  is  painted  with  a  mixture  of  aurine 
and  aniline  scarlet  applied  by  the  aid  of  negative  varnish.  The 
aurine  is  an  efficient  substitute  for  yellow  or  orange,  and  the 


CAPTAIN  ABNEY. 


57 


aniline  scarlet  for  ruby  glass  or  fabric;,  a  combination  which,  as 
most  of  us  know,  is  very  effective  in  cutting  off  troublesome 
rays  from  the  gelatine  film. 

Captain  Abney  has  taken  a  leaf  out  of  Mr.  England's  book,  in 
the  preparation  of  gelatine  plates,  and  possesses  an  efficient  cup- 
board of  the  England  pattern.  He  gives  the  England  cupboard 
a  very  good  character,  and  has  no  difficulty  in  maintaining  a  con- 
stant temperature  of  something  like  76°  Eahr.,  which  dries  the 
gelatine  plates  effectually. 

After  developing,  and  before  fixing,  our  host  makes  it  a 
practice  to  dip  his  gelatine  plates  into  a  saturated  solution  of 
alum ;  he  prefers  operating  in  this  way  rather  than  fixing  the 
negative  first  of  all.  His  development  is  carried  out  in  white 
dishes  of  enamelled  iron,  They  are  somewhat  after  the  shape  of 
a  Yorkshire  pudding  dish,  and,  besides  being  unbreakable,  they 
have  the  advantage  of  showing  when  they  are  dirty  and  when 
they  are  clean. 

Here  is  Captain  Abney's  method  of  preparing  collodion  emul- 
sion sensitive  to  the  infra-red  region  of  the  spectrum.  He 
says: — "A  normal  collodion  is  first  made  according  to  the 
-formula  below : — 

Pyroxyline  (any  ordinary  kind)  16  grains 

Ether  (*725  s.p.)    ...      4  ounces 

Alcohol  (-820)    2  „ 

(i  This  is  mixed  some  days  before  it  is  required  for  use,  and 
any  undissolved  particles  are  allowed  to  settle,  and  the  top  por- 
tion is  decanted  off.  320  grains  of  pure  zinc  bromide  are  dis- 
solved in  |-  ounce  to  1  ounce  of  alcohol  (-820)  together  with 
1  drachm  of  nitric  acid.  This  is  added  to  3  ounces  of  the  above 
normal  collodion,  which  is  subsequently  filtered.  500  grains  of 
silver  nitrate  are  next  dissolved  in  the  smallest  quantity  of  hot 
distilled  water,  and  1  ounce  of  boiling  alcohol  -820  added.  This 
solution  is  gradually  poured  into  the  bromised  collodion,  stirring 
briskly  whilst  the  addition  is  being  made.  Silver  bromide  is 
now  suspended  in  a  fine  state  of  division  in  the  collodion,  and  if 
a  drop  of  the  fluid  be  examined  by  transmitted  light,  it  will  be 
found  to  be  of  an  orange  colour. 

"  Besides  the  suspended  silver  bromide,  the  collodion  contains 
zinc  nitrate,  a  little  silver  nitrate,  and  nitric  acid,  and  these  have 
to  be  eliminated.    The  collodion  emulsion  is  turned  out  into  a 


58 


STUDIOS  IN  LONDON. 


glass  flask,  and  the  solvents  carefully  distilled  over  with  the  aid 
of  a  water  bath,  stopping  the  operation  when  the  whole  solids 
deposit  at  the  bottom  of  the  flask.  Any  liquid  remaining  is 
carefully  drained  off,  and  the  flask  filled  with  distilled  water. 
After  remaining  a  quarter- of -an-hour,  the  contents  of  the  flask 
are  poured  into  a  well- washed  linen  bag,  and  the  solids  squeezed 
as  dry  as  possible.  The  bag  with  the  solids  is  again  immersed 
in  water,  all  lumps  being  crushed  previously,  and  after  half-an- 
hour  the  squeezing  is  repeated.  This  operation  is  continued  till 
the  wash  water  contains  no  trace  of  acid  when  tested  by  litmus 
paper.  The  squeezed  solids  are  then  immersed  in  alcohol  '820 
for  half-an-hour  to  eliminate  almost  every  trace  of  water,  when, 
after  wringing  out  as  much  of  the  alcohol  as  possible,  the  con- 
tents of  the  bag  are  transferred  to  a  bottle,  and  2  ounces  of 
ether  (-720)  and  2  ounces  of  alcohol  (-805)  are  added.  This 
dissolves  the  pyroxyline,  and  leaves  an  emulsion  of  silver  bro- 
mide, which,  when  viewed  in  a  film,  is  essentially  blue  by 
transmitted  light. 

"  All  the  operations  must  be  conducted  in  very  weak  red  light 
— such  a  light,  for  instance,  as  is  thrown  by  a  candle  shaded  by 
ruby  glass  at  a  distance  of  twenty  feet.  It  is  most  important 
that  the  final  washing  should  be  conducted  almost  in  darkness. 
It  is  also  essential  to  eliminate  all  traces  of  nitric  acid,  as  it 
retards  the  action  of  light  on  the  bromide,  and  may  destroy  it  if 
present  in  any  appreciable  quantities.  To  prepare  the  plate 
with  this  silver  bromide  emulsion,  all  that  is  necessary  is  to  pour 
it  over  a  clean  glass  plate,  as  in  ordinary  photographic  processes, 
and  to  allow  it  to  dry  in  a  dark  cupboard. 

"  For  development  of  exposure  I  recommend  what  is  known  as 
the  ferrous  oxalate  developer.  This  is  prepared  by  dissolving 
ferrous  oxalate  in  a  saturated  solution  of  neutral  potassium 
oxalate,  adding  the  iron  salt  till  no  more  is  taken  up.  To  make 
up  the  developing  solution,  equal  parts  of  this  solution  of  ferrous 
oxalate,  and  of  a  solution  of  potassium  bromide,  20  grains  to  the 
ounce,  are  employed.  This  mixture  is  placed  in  a  clean 
developing  glass  just  before  development  takes  place.  The  film 
is  first  softened  by  flowing  over  it  a  mixture  of  equal  parts  of 
alcohol  and  water,  and  is  then  well  washed.  The  developer  is 
now  poured  over  the  plate,  taking  care  to  keep  the  fingers  from 
touching  any  part  of  the  film.  The  image  will  appear  gradually, 
and  should  have  fair  density  when  all  action  is  exhausted. 


MR.  VALENTINE  BLANCHARD. 


59 


"The  intensity  can  be  materially  increased  by  using  the 
ordinary  intensifying  solutions  of  pyrogallic  acid,  citric  acid,  and 
silver  nitrate.  The  unreduced  silver  bromide  is  removed  by  a 
saturated  solution  of  sodium  thiosulphite  in  water,  from  all  traces 
of  which  the  film  should  be  thoroughly  washed  before  being; 
allowed  to  dry. 

"  The  operation  of  development  should  take  place  in  a  verjr 
subdued  red  light,  that  recommended  for  the  preparation  of  the 
emulsion  being  the  safest.  It  is,  however,  somewhat  remark- 
able that  when  the  developing  action  has  once  been  set  up,  a 
greater  quantity  of  light  may  be  permitted  to  fall  on  the  plate 
than  before  the  action  commences.  The  bromide  of  potassium 
probably  prevents  any  further  action  by  the  light,  which  may 
account  for  it.  It  should  be  noted  that  the  image  may  be- 
developed  by  the  ordinary  alkaline  method,  though  not  so  satis- 
factorily, a  slight  veil  being  usually  apparent. 

"  I  may  here  state  that  by  diminishing  the  amount  of  nitric 
acid  to  one-fourth  the  amount  given  in  the  preparation  of  the 
emulsion,  it  is  possible  in  very  cold  weather  to  obtain  plates 
which  are  sensitive  to  very  low  radiations,  such  as  the  radiations 
proceeding  from  boiling  mercury,  or  even  boiling  water.  In 
summer  time  this  emulsion,  as  would  naturally  be  expected, 
produces  what  are  known  as  "  foggy  pictures  ;  "  but  it  can  be 
rendered  of  use  by  flooding  with  hydrochloric  acid.  In  the  pre- 
paration of  such  an  emulsion  the  water  bath  must  be  kept  at  a 
temperature  but  little  above  that  of  the  boiling  point  of  the 
ether." 


ME.  VALENTINE  BLANCHAED  IN  EEGENT  STEEET. 

In  the  neighbourhood  of  Eleet  Street  there  have  established 
themselves  for  several  years  past  a  body  of  gentlemen  known  by 
the  name  of  the  Whitefriars  Club.  This  club  is  not  a  large  one, 
and  has  never,  we  believe,  since  its  commencement,  numbered 
more  than  seventy  or  eighty  members.  It  is  for  the  most  part  a 
literary  club — its  predilection  for  the  neighbourhood  in  question 
indicates  as  much — and  amongst  its  past  and  present  members 
may  be  cited  men  of  considerable  mark.  Novelists,  such  as 
"William  Black  and  Charles  Gibbon  ;  editors  of  the  great  London 
dailies — to  wit,  Captain  Hamber  and  Alfred  Bate  Eichards ;  con- 


^60 


STUDIOS  IN  LONDON. 


ductors  of  humorous  periodicals  that  enjoy  scarcely  less  influence 
in  the  country,  the  late  Tom  Hood  of  Fun,  and  William  Sawyer 
of  Funny  Folks  ;  actors  of  the  first  rank,  like  Barry  Sullivan  and 
"William  Creswick ;  painters  and  cartoonists,  such  as  Orchard- 
son,  R.A.,  and  John  Proctor ;  these,  to  cite  a  few  examples,  are 
upon  the  roll  of  Friars.  But  the  Cluh,  noted  as  it  is  for  the  long 
list  of  talented  men  enrolled  under  its  name,  is  famous  in  one 
other  respect :  it  possesses,  beyond  question,  the  finest  gallery  of 
photographic  portraits  to  be  found  in  any  hall  or  room  in  London. 
Probably,  the  collection  does  not  at  this  moment  fall  short  of 
half-a-hundred,  and  the  pictures  are  all  of  them  of  magnificent 
proportions,  taken  direct  on  15  by  12  inch  plates — vigorous,  life- 
like, and  characteristic.  Moreover,  they  are  all  of  them  the 
work  of  Mr.  V.  Blanchard. 

In  a  word,  no  better  evidence  of  Mr.  Blanchard's  ability  can 
be  afforded  than  this  fine  collection  of  portraits  at  the  Whitefriars 
Club.  It  shows,  too,  the  school,  or  style,  of  portrait,  for  which 
Mr.  Blanchard  has  achieved  a  very  extensive  reputation.  His 
large  direct  portraits — massive,  dignified,  full  of  life- — are, 
indeed,  too  well  known  to  require  any  detailed  description  here, 
for  every  visitor  to  the  Pall  Mall  Exhibitions  during  the  past 
half-dozen  years  must  have  witnessed  examples  of  his  handiwork. 
Mr.  Blanchard  is,  to  some  extent,  a  disciple  of  Adam-Salomon, 
the  late  well-known  sculptor  and  photographer  of  Paris  ;  but  he 
has  added  to  his  portraits  qualities  which  are  personal  to  himself. 
The  rich,  luscious  shadows  of  the  Adam-Salomon  school  are 
present,  together  with  other  attributes  inherent  to  Mr.  Blanchard 
himself.  We  do  not  mean  to  say  that  the  latter' s  portraits  are 
better  than  those  of  his  illustrious  Paris  confrere,  but  that,  equally 
with  Adam-Salomon's  pictures,  they  have  characteristics  which 
mark  them  as  the  work  of  an  artist  in  the  foremost  rank. 

Mr.  Blanchard' s  reception-room  has  but  few  pictures  upon  the 
walls,  but  they  are  well  chosen  examples  of  his  best  work.  The 
most  striking  are  "  Rebecca  at  the  Well,"  a  fine  Eastern  study, 
which  secured  a  medal  at  Pall  Mall,  and  the  picture  of  a  Greek 
girl,  that  received  a  similar  honour.  In  both  of  these  pictures 
the  management  of  the  drapery  is  beyond  praise  ;  it  falls  in  soft 
and  graceful  folds  over  the  figure,  without  marring  the  outline 
of  the  latter.  The  Greek  key  pattern  on  the  tunic  of  one  of  the 
models  was  pencilled  by  Mr.  Blanchard  himself,  for  he  found 
that  the  addition  of  an  edging  or  braiding  to  the  drapery  imparted 
a  stiffness  which  was  very,  objectionable  to  the  picture.  Miss 


MR.  VALENTINE  BLANCHARD. 


61 


Furtado,  as  Esmeralda,  is  another  study  Mr.  Blanchard  may  well 
feel  proud  of,  and  some  manly  portraits  on  15  by  12  plates  com- 
plete the  collection.  Mr.  Blanchard' s  charge  for  these  pictures 
is  £4  4s.  ;  for  cabinets,  £2  2s.  per  dozen  is  asked,  and  for  cartes, 
£1  Is. 

The  studio  upstairs,  at  first  sight,  impresses  one  in  a  very 
singular  manuer.    Instead  of  being  light,  it  is  dark.  Indeed, 
there  is  little  doubt  that  Mr.  Blanchard  employs  less  illumination 
than  most  of  his  brethren  ;  he  objects  to  flood  his  models  with 
light.    Half-a-dozen  movable  screens  are  about  the  studio, 
standing  some  eight  feet  in  height,  and  measuring  six  feet  in 
breadth.    These  are  put  about  with  very  little  ceremony.    "  My 
light  here  is  dead  south,"  said  Mr.  Blanchard.    "If  I  get 
bothered  with  the  sun  coming  in,  I  simply  stop  the  light  from 
this  portion  of  the  studio,  and  go  oyer  there  with  my  camera, 
where  the  light  is  easterly."    And  in  a  moment,  our  host  had 
contrived  by  means  of  his  screens  a  second  studio  at  right  angles 
to  his  first.    "  I  consider,"  said  Mr.  Blanchard,  "that  the  most, 
perfect  lighting  a  photographer  can  have  is  when  the  sun  is  ob- 
scured by  a  white  cloud,  and  I  endeavour  to  imitate  this  pheno- 
menon in  my  studio.    You  see  I  have  subdued  illumination  all 
on  this  side,  and  admit  pure  light  only  through  two  or  three 
squares  of  glass." 

Mr.  Blanchard  has  an  excellent  plan  for  subduing  his  illumina- 
tion.   The  side  and  roof,  where  it  is  of  glass,  and  where  the  light 
is  to  be  softened,  are  furnished  with  transparent  screens  of  a 
movable  character.    In  cloudy  weather  they  are  not  needed ;  in 
sunshine  they  are.    These  screens  are  covered  with  papier 
mineral,  which  has  the  appearance  of  fine  ground  glass;  the 
papier  mineral  has  the  advantage  over  ground  glass  of  being  far 
cheaper,  and  much  lighter  to  handle.    "English  tracing  paper 
won't  do,"  says  our  host;  "it  goes  yellow  after  a  few  weeks, 
and  then  good-bye  to  your  white  cloud  effect ;  you  get  a  yellow 
glare  then,  which  is  very  unpleasant." 

Mr.  Blanchard  has  been  working  the  powder  process  to  good- 
effect  in  producing  pictures  on  opal.    His  formula  is  : — 
Dextrine         ...  ...       ...    4  drams 

Grape  sugar     ...       ...       ...        ...    4  ,, 

Bichromate  of  potash  ...       ...       ...  4 

Glycerine   2  drops 

Water  12  ounces 


STUDIOS  IN  LONDON. 


This  is  applied  twice  to  the  clean  opal  plate,  carefully  drying  by 
heat  in  between ;  then,  says  Mr.  Blanch ard,  the  plate  is  ready 
for  the  printing  operation.  To  make  a  print  on  the  bichromate 
film,  which  should  be  even  and  bright,  and  of  a  deep  yellow 
colour,  a  transparency,  not  a  negative,  is  necessary.  This  trans- 
parency must  be  inverted,  and,  therefore,  a  print  on  glass  by 
direct  contact  with  the  negative  will  not  do.  The  transparency 
must  be  made  in  the  copying  camera,  and  care  must  be  taken 
that  the  negative  have  the  film  side  away  from  the  lens.  This 
transparency,  in  order  to  give  the  best  result  in  the  after-process 
of  printing,  should  be  very  delicate  and  full  of  detail,  but  with 
clearness  in  the  highest  lights — in  fact,  bright  as  well  as  delicate 
— or  the  print  will  be  dull  and  wanting  in  harmony.  It  is  best 
to  varnish  the  transparency  for  fear  of  accident,  but  it  is  not 
absolutely  necessary.  Now  whilst  the  prepared  opal  is  still 
warn?  (after  the  drying  operation),  lay  it  with  film  up  on  a  board 
covered  with  dark  velvet,  and  carefully  place  the  transparency, 
which  should  also  be  warmed,  with  the  film  down  on  to  the  opal. 
Care  must  be  taken  to  place  it  so  that  the  head  comes  in  the 
proper  place  on  the  opal.  It  must  now  be  carried  into  the  light, 
and  exposed  to  clear  "bright  light,  not  necessarily  sunlight. 
"Were  this  the  same  always,  it  would  make  the  timing  of  the 
exposure  much  more  simple.  But  it  is  impossible  to  indicate  the 
exact  exposure ;  this  can  only  be  found  by  experiment.  After 
a  little  practice,  it  will  be  possible  to  judge  by  the  amount  of 
browning  which  takes  place,  for  the  bright  yellow  after  a  time 
gives  place  to  a  brown,  not  unlike  ripe  corn.  Prom  two  to  ten 
minutes  in  a  dull  light,  or  a  few  seconds  in  sunlight,  will  be 
found  sufficient.  When  the  plate  is  taken  back  to  the  dark- 
room, and  the  transparency  removed,  a  faint  image  will  be  visible. 
The  development  is  brought  about  by  the  employment  of  any 
finely-ground  pigment,  such  as  ivory-black  or  in  indian  red,  in 
combination  with  black  in  suitable  proportions  to  satisfy  the 
taste  of  the  operator. 

NTow  apply  the  powder  by  the  aid  of  a  large  camel-hair  brush, 
beginning  on  a  portion  of  the  dress,  or  in  the  shadows  of  the  hair, 
and  not  on  the  face.  Should  the  powder  attach  itself  too  readily, 
and  the  camel-hair  pencil  appear  to  drag  at  all,  the  film  is  too 
tacky,  and  it  will  be  better  to  shake  off  the  powder  and  slightly 
warm  the  film  before  proceeding  further.  On  the  contrary, 
should  the  powder  refuse  to  adhere  after  gently  rubbing  with  the 


MR.  VALENTINE  BLANCHARD. 


63 


pencil  for  some  little  time,  shake  off  the  powder  and  gently 
"breathe  upon  the  plate,  and  move  it  backwards  and  forwards 
until  the  moisture  has  evaporated,  and  again  apply  the  powder 
as  before.  This  operation  may  be  repeated  until  the  image  is 
sufficiently  brought  up.  If  the  exposure  be  too  short,  the  powder 
will  too  readily  attach  itself,  and  the  image  will  be  muddy  and 
wanting  in  contrast ;  whilst,  on  the  other  hand,  if  the  exposure 
he  too  long,  the  image  will  be  too  much  defined  on  the  opal,  and  the 
powder  will  refuse  to  adhere  even  after  a  lengthened  application. 
When,  however,  the  exposure  has  been  rightly  timed,  the  powder 
will  attach  almost  immediately,  and  a  clear  image  will  readily 
be  developed.  If,  however,  after  varied  exposures  the  powder 
refuses  to  adhere,  it  may  be  well  to  increase  the  proportion  of 
the  grape  sugar  in  the  solution,  and  the  use  of  the  separate  solu- 
tion of  grape  sugar  mentioned  above  will  be  at  once  apparent. 

The  plate  is  now  ready  for  fixing.  This  is  accomplished  by 
pouring  over  saturated  solution  of  boracic  acid  in  alcohol.  After 
carefully  drying,  the  plate  must  now  be  carefully  soaked  in  a  dish 
of  clean  water.  After  a  few  changes^  to  wash  out  the  bichromate, 
the  plate  may  be  taken  out  and  dried,  and  the  picture  is  ready 
for  the  artist.  If,  on  trying  the  /plate  with  the  finger,  the 
powder  be  easily  rubbed,  the  plate  must  be  immersed  for  a  few. 
minutes  in  a  bath  composed  of  sulphuric  acid  two  drams,  water 
one  pint.  After  a  few  changes  of  water  the  plate  may  be  again 
dried. 

Mr.  Elanchard's  copying  camera  for  making  his  transparencies 
for  the  process  is  simple  in  the  extreme.  There  is  a  long  plank 
upon  which  the  camera  stands ;  at  a  little  distance  in  front  of  the 
lens  stands  an  upright  board  with  a  perforation  in  which  the 
negative  is  placed.  Beyond  the  negative,  again,  is  a  bit  of  white 
cardboard,  or  paper,  sloping  at  an  angle  of  45°.  The  white 
paper  reflects  the  light  through  the  negative ;  and  before  focus- 
ing, a  black  cloth  is  simply  thrown  over  the  camera  and  over 
the  upright  board  that  carries  the  negative  in  order  to  shut  out 
the  light.  This  is  the  whole  arrangement ;  there  is  no  con- 
denser, a  No.  1  or  Bo.  2B  lens  being  employed  for  copying ;  and 
the  apparatus  has  the  inestimable  advantage  that  it  can  be 
cleared  out  of  the  way  in  an  instant,  and  rigged  up  again  with- 
out delay,  trouble,  or  expense. 


64 


STUDIOS  IN  LONDON. 


AT  THE  WOOLWICH  ARSENAL  PHOTO -LITHOGRAPHIC 
ESTABLISHMENT— THE  YELVET  ROLLER. 

Hebe  is  the  studio — a  lofty  glass-house — iu  which  the  negatives 
are  secured,  and  running  down  the  middle  of  it  is  a  little  tram- 
way. The  rails  are  some  twenty  inches  apart,  and  upon  them  run 
the  castors  of  a  heavy  oblong  table  ;  the  table  carries  the  camera, 
which  is  in  this  way  advanced  or  retired  without  difficulty,  a 
few  simple  wedges  fixing  the  castors  as  soon  as  the  necessary 
focus  has  been  obtained.  Under  ordinary  circumstances  a  spirit- 
level  would  be  necessary  to  see  if  the  camera  is  truly  horizontal, 
and  a  plumb-line  to  ascertain  if  the  drawing-board,  upon  which 
the  plan  to  be  copied  is  stretched,  is  quite  perpendicular ;  but, 
with  the  assistance  of  suitable  fixtures,  such  testing  is  no  longer 
necessary.  The  camera-table,  as  it  runs  along  the  rails,  is  known 
to  be  properly  adjusted,  and  the  solid  board  fixed  upright  at 
right  pngles  to  the  tramway  is  always  in  position.  This  upright 
board  is  covered  with  a  sheet  of  white  paper,  in  the  middle  of 
which  is  a  tiny  cross  that  marks  the  centre  or  axis  of  the  lens. 

Here  is  a  drawing  ready  for  copying ;  it  is  on  tracing-paper, 
and  we  remark  at  once  upon  its  greyish  tint.  "Is  the  ground 
white  enough  to  give  an  opaque  film?  "  we  ask.  "  When  it  is 
backed  with  white  cartridge  paper  it  will  be,"  is  the  reply ;  and 
having  first  provided  it  with  this  backing,  the  tracing-paper  is 
fixed  by  means  of  drawing  pins  before  the  camera.  The  sheet 
measures  three  feet,  and  the  photo-lithograph  is  to  be  twelve 
inches.  There  are  fine  lines  and  broad  ones,  dotted  lines  and 
delicate  curves,  but  they  seem  to  give  no  difficulty.  The  focus 
is  taken  midway  between  centre  and  margin  of  the  picture,  the 
lens,  by-the-bye,  being  a  rectilinear  of  twenty-six  inches  equiva- 
lent focus.  It  is  a  wet  plate.  A  short  exposure  is  given  to  get 
a  delicate,  thin  image,  and  this,  after  fixing,  is  intensified  by 
Dr.  Eder's  lead  process,  which  consists  in  washing  the  negative 
scrupulously,  and  immersing  it  in  a  filtered  solution  of— 

Distilled  water   100  grammes 

Red  prussiate  of  potash    6  „ 

Nitrate  of  lead    4  „ 

The  negative  should  be  dipped  into  this  bath  as  soon  as  it  is 
fixed,  and  then  but  a  few  minutes  are  necessary  for  intensifying. 
If,  however,  the  negative  has  become  dry,  then  it  should  be  put 


AT  THE  WOOLWICH  ARSENAL. 


65 


to  soak  in  water  for  some  hours  before  it  is  put  into  the  lead 
bath.  Even  in  that  ease  the  process  of  intensifying  takes  a 
much  longer  time.  Por  this  reason  it  is  better  not  to  let  the 
negative  dry  before  it  is  intensified. 

During  the  action  of  the  lead  bath,  there  is  deposited  upon 
the  silver  parts  of  the  picture  a  faint  yellowish- white  precipitate, 
which  makes  the  film  appear  quite  white,  and  possesses  an 
extraordinary  amount  of  intensity.  It  is  necessary  to  allow 
the  negative  to  remain  in  the  lead  bath  until  it  has  assumed  the 
same  amount  of  density  which  you  require  in  the  end,  for  the 
next  treatment  with  sulphide  of  ammonium  is  for  the  purpose 
rather  of  rendering  the  film  permanent  than  to  augment  its 
density. 

The  action  that  goes  on  is  similar  to  what  takes  place  in 
the  uranium  intensifying  process.  The  silver  works  as  a 
reducing  agent,  and  the  red  prussiate  of  potash  passes  into  the 
yellow  form,  which  then  becomes  an  insoluble  compound— ferro- 
cyanide  of  lead — with  the  lead  salts  that  are  present.  It  is  now 
necessary  to  convert  the  unstable  lead  compound  into  a  perma- 
nent and,  perhaps,  more  opaque  compound,  and  this  is  done  by 
the  action  of  the  sulphide  of  ammonium. 

After  the  negative  has  been  taken  out  of  the  lead  bath,  and 
well  washed  with  distilled  water,  the  sulphide  of  ammonium  is 
applied.  In  washing,  the  colour  of  the  film  should  become 
almost  white  ;  and  if  it  is  desired  to  know  whether  the  washing 
process  has  been  carried  far  enough,  a  few  drops  of  the  rinsings 
are  allowed  to  fall  into  a  little  iron  developer.  If  no  blue 
colouring  is  to  be  observed,  then  the  washing  has  been  com- 
pletely successful.  The  sulphide  of  ammonium  is  employed  in 
the  form  of  an  aqueous  solution  of  20  per  cent,  strength,  and 
immediately  upon  its  application  the  image  becomes  perfectly 
black.  The  operator  waits  until  the  image  is  blackened  right 
through,  and  then  the  sulphide  of  ammonium  is  washed  off  with 
ordinary  water.  In  this  way  the  most  transparent  lines  may  be 
secured  upon  a  perfectly  black  ground.  Distilled  water  should 
always  be  used  for  first  washing  the  plate  throughout  these 
operations. 

We  are  now  taken  in  hand  by  Mr.  Baker,  the  chief  draughts- 
man of  the  establishment,  under  whose  immediate  charge  the 
work  of  photo-lithography  is  conducted.  "  We  have  come  to 
see  the  velvet-roller  process, "  we  tell  Mr.  Baker.    "It  is  so 


66 


STUDIOS  IN  LONDON. 


promising  that  it  bids  fair  to  oust  the  older  process  altogether," 
is  his  reply  ;  and,  in  confirmation  of  his  opinion,  he  exhibits  a 
series  of  prints  that  have  been  pulled  from  the  stone  from  a 
transfer  just  made. 

The  sensitizing-room  is  a  small  apartment  with  one  large 
window,  of  which  the  lower  half  is  darkened  by  a  shutter,  and 
the  upper  hung  with  tammy.  Here  the  paper  is  sensitized. 
Only  Bank  Post  is  employed,  a  very  tough  and  smooth  material. 
"  There  are  two  kinds  of  Bank  Post,"  says  Mr.  Baker ;  "  one 
having  parallel  lines  running  across  the  sheet,  and  this  is  of  no 
use  whatever  in  the  process."  The  paper  is  floated  upon  the 
bichromate  and  gelatine  mixture*  (one  coating  is  usually 
sufficient,  if  it  is  skilfully  done),  and,  when  dry,  exposed  under 
the  negative  in  the  shade.  Pive  minutes'  printing  is  ample  in 
the  summer  time,  if  the  lines  of  the  negative  are  pure  and  clear  : 
but  the  time  can  only  be  well  .judged  by  an  experienced  printer. 
"When  looked  at  in  the  dark-room,  the  faint  brown  marking  of 
the  image  on  the  yellow  paper  is  scarcely  perceptible,  and,  for 
this  reason,  it  is  well  to  mark  the  face  of  the  paper  with  a  black- 
lead  pencil  immediately  before  sensitizing. 

"We  have  now  before  us  a  bichro mated  gelatine  print,  and  we 
are  going  to  treat  it  by  the  velvet-roller  process.  It  is  handled 
very  much  like  carbon  tissue  that  has  j  ust  been  printed.  Mr. 
Baker  throws  it  into  cold  water,  and  allows  it  to  remain  immersed 
for  four  or  five  minutes.  He  now  takes  a  glass  plate,  rather 
shorter  than  the  print,  so  that  the  ends  may  tuck  under,  and 
puts  the  impression  carefully  on  the  glass  surface.  The  opera- 
tions may  henceforth  be  conducted  in  the  light,  for  as  soon  as 
the  print  goes  into  cold  water,  you  need  be  under  no  apprehension 
of  spoiling  it  by  daylight.  The  wet  print  is  squeegeed  upon  the 
glass  plate,  and  the  superfluous  moisture  further  removed  by 
lightly  laying  upon  the  surface  a  sheet  of  bibulous  paper.  "Let 
the  print  be  too  wet,  rather  than  too  dry,"  says  our  friend  the 
chief  draughtsman,  as  he  carries  it  off  to  the  lithographic  room. 


*  Two  solutions  are  made,  and,  for  sensitizing,  mixed  together  and  kept 
warm  ;  these  are — 

Best  gelatine    ...       ...       ...       ...       ...  3  ounces 

Water    40  „ 

4nd 

Bichromate  of  potash  ...       ...       ...       ...  2  ounces 

Water    10 


AT  THE  WOOLWICH  AESENAL. 


67 


Here  some  ordinary  re-transfer  ink  has  been  considerably 
thinned  with  turpentine,  and  well  rolled  upon  a  slab  with  an 
ordinary  leather  roller.  A  burnished  steel  plate,  close  at  hand, 
is  now  coated  with  a  fine  even  surface  of  the  dilute  transfer  ink 
by  the  application  of  the  same  roller,  and  then  the  velvet  roller 
is  taken  in  hand.  This  is  passed  over  the  steel  plate  to  take  up 
the  ink,  and  then  delicately  rolled  over  the  bichromate  print. 
The  ends  of  the  print  being  double  under  the  glass  plate,  it  is 
kept  flat  and  firm,  and,  to  allow  the  lithographer  sufficient  play 
for  his  hands,  the  slab  on  which  the  glass  plate  rests  is  no  larger 
than  necessary  for  the  purposes  of  support.  At  first  the  velvet 
roller  is  passed  lightly  over  the  surface,  but  some  weight  is 
afterwards  borne  upon  it.  "  You  see,  I  treat  the  silver  print 
precisely  as  I  would  a  stone,"  said  the  skilful  lithographer,  and 
he  certainly  did.  The  bichromate  print  was  sponged  and 
rubbed,  and  rolled  and  watered,  just  as  if  it  were  a  lithographic 
stone,  and,  in  a  few  minutes,  the  blank  sheet  of  paper,  which  at 
first  bore  but  the  faintest  of  brown  markings,  was  covered  with 
fine  black  lines  of  the  most  exquisite  sharpness — a  design  in 
miniature  of  the  original  drawing.  Continued  rolling  up — 
carried  out,  be  it  remembered,  by  a  skilled  lithographer — 
brought  more  of  the  viscid  black  ink  upon  the  lines,  and  in  a 
quarter-of-an-hour — for  very  little  cleaning  was  necessary — the 
plan  was  ready  for  transferring  to  stone.  When  wetting  the 
paper  is  undesirable,  breathing  upon  it  will  often  impart 
sufficient  moisture  to  the  film  to  enable  it  to  repel  the  ink  from 
the  roller.  Before  applying  the  finished  transfer  to  a  litho- 
graphic stone,  it  is  well  washed  in  cold  water  to  remove  the 
superfluous  gelatine  from  the  surface. 

The  velvet  roller  is  of  cotton  velvet,  light  to  handle,  and,  as 
the  chief  draughtsman  remarks,  " puddingy"  in  character.  He 
prefers  to  employ  two  rollers  in  the  working  up,  using  them  alter- 
nately, so  that  they  may  dry  a  little  in  between.  Of  course  it 
is  impossible  to  scrape  the  ink  from  a  velvet  roller.  The  best 
way  to  preserve  the  roller  is  to  put  it  into  a  bag  after  use, 
without  any  further  manipulation  whatever;  then,  before 
beginning  work  again,  free  the  roller  from  the  old  ink  by  rolling 
it  on  a  clean  slab,  cleaning  the  slab  at  intervals  with  turpentine 
of  the  old  ink.  The  velvet 'roller  should  always  be  cleaned  in 
this  way  before  using. 

There  is  one  more  important  point,  and  that  is  the  mixing 


68 


STUDIOS  IN  LONDON. 


of  the  transfer  ink  for  application  to  the  slab  and  to  the  roller. 
So  that  these  instructions  may  be  as  practical  as  possible,  we 
append  here  the  directions  of  a  practical  photo-lithographer  on 
the  subject : — 

Take  2  ounces  of  transfer  ink  from  the  pot,  add  J-ounce  of 
olive  oil,  mix  well  together  with  the  muller  on  a  slab ;  this, 
you  will  find,  gives  a  paste  about  the  consistency  of  butter. 
Such  paste  makes  capital  stock.  "When  the  printer  is  ready  to 
roll  up  the  transfer,  reduce  the  above  with  turpentine  to  about 
the  thickness  of  cream ;  you  will  now  find  your  ink  is  ready  for 
the  roller.  Charge  the  roller  liberally,  and  roll  the  roller  well 
up  on  the  slab.  In  so  doing,  you  will  find  the  turpentine 
evaporate,  leaving  the  ink  in  beautiful  condition  for  a  first-class 
transfer. 

Should  you  find  your  ink  get  too  stiff,  reduce  it  with 
turpentine ;  be  sure  you  roll  your  transfer  one  way  only,  namely, 
from  you. 


ME.  EOBEET  FAULKNEE  IN  BAKEE  STEEET. 

This  is  the  kingdom  of  Lilliput.  Prom  the  walls  look  down 
upon  you  tiny  forms  and  chubby  faces  ;  they  smile  or  pout,  are 
roguish  or  coy,  bright  or  tearful,  under  the  gentle  sway  of  the 
silvery-bearded  monarch  who  here  reigns  supreme.  Like  the 
pied  piper  of  Hamelin,  Mr.  Faulkner  can  do  as  he  pleases  with 
his  little  people.  It  is  not  a  question  of  obedience ;  it  is  an  innate 
power  he  possesses,  which  renders  them  subservient  to  his  will. 
We  all  of  us  have  heard  the  German  legend :  how  the  pied  piper 
was  engaged  by  the  village  mayor  to  get  rid  of  the  rats,  and 
having  performed  his  task,  got  laughed  at  for  his  pains ;  how,  in 
revenge,  he  went  away  playing  upon  his  pipe  so  sweetly,  that 
all  the  children,  great  and  small,  were  perforce  compelled  to 
follow  him  ;  how  he  led  them  into  a  chasm  in  the  mountain  side, 
which  closed  upon  the  pigmy  procession,  so  that  the  children 
were  never  seen  again.  Only  one  little  fellow  escaped — he  was 
lame,  and  could  not  hobble  along  on  his  crutches  so  fast  as  the 
other  children.  He  was  shut  out  by  the  rock,  and  remained  to 
tell  the  story.  So,  apparently,  Mr.  Faulkner  has  only  to  exer- 
cise his  will  to  make  his  tiny  subjects  follow  him.    In  his  hands 


MR.  ROBERT  FAULKNER. 


69 


they  are  not  only  plastic  as  clay,  but  smiles  and  tears,  humour 
and  pathos,  are  called  up  in  the  little  faces  at  his  bidding.  Let 
boys  and  girls  be  ever  so  stubborn,  Mr.  Faulkner  has  but  to 
breathe  his  spell,  and  they  follow  him.    As  Goethe  has  it : 

"  Und  waren  Knaben  noch  so  trotzig, 
Und  waren  Madchen  noch  so  stiitzig, 
In  meine  Saiten  greif  ich  ein, 
Sie  mils  sen  alle  hinter  drein." 

It  is  not  easy  to  get  beyond  the  reception  room.  The  merry 
dimples  and  winsome  faces  are  for  ever  luring  you  to  stay. 
Here  is  a  little  miss,  in  mob  cap  and  loose  gown,  with  curly 
locks  and  pensive  look,  who  seems  to  have  strayed  out  of  a  pic- 
ture by  Sir  Joshua  Reynolds.  Here  is  a  tiny  being,  her  eyes 
as  black  as  sloes,  who  has  put  up  her  bare  arms  behind  her  round 
head,  and  beams  wickedly  across  to  you.  Here,  a  fair-haired 
urchin  in  the  guise  of  a  petty  officer,  looking  every  inch  a  sailor ; 
and  here  again  a  study,  of  which  Mr.  Faulkner  is  justly  proud, 
the  "  Infant  Samuel,"  whose  upturned  face  is  full  of  pathos 
and  devotion. 

Passing  on,  we  enter  a  spacious  gallery,  in  which  are  larger 
examples  of  Mr.  Faulkner's  work.  Mr.  Faulkner  believes  that 
a  carte  or  cabinet  negative  is  sufficiently  large  for  most  purposes, 
and  his  bigger  pictures  are  all  taken  from  these.  Mr.  Faulkner 
has  a  high  opinion  of  powder  pictures,  but,  unfortunately,  he 
says,  there  is  no  one  to  whom  the  retouching  of  them  can  be 
trusted.  A  clumsy  or  ill-judged  touch  of  the  brush  upon  a 
delicate  cheek  or  softly-moulded  dimple  will  ruin  the  picture, 
and  he  now  prefers  to  print  his  enlargements  by  the  carbon  pro- 
cess, confining  the  work  of  the  retouching  brush  to  simple 
"  mending."  "  There  is  not  five  shillings'  worth  of  retouching 
work  on  any  of  these  pictures,"  said  Mr.  Faulkner,  pointing  to 
a  fine  series  of  studies,  of  which  many  have  been  published  with 
marked  success.  A  transparency  is  produced  in  the  first  place, 
and  it  is  upon  this  transparency  that  depends  the  value  of  the 
finished  work.  Mr.  Faulkner  can  bear  out  the  adage,  "  If  you 
want  a  thing  done  well,  do  it  yourself,"  since  he  is  compelled 
to  produce  every  one  of  his  transparencies  by  his  own  hand.  But 
he  has  the  great  consolation  of  knowing  that  he  is  successful. 
Of  some  of  his  studies  printed  in  "  red  chalk"  carbon,  no  less 
than  10,000  copies  have  been  sold,  for  Mr.  Faulkner  appears 
just  now  to  have  the  monopoly  of  producing  sketches  of  this 


70 


STUDIOS  IN  LONDON. 


nature,  which  are  highly  prized  and  eagerly  purchased  bjr 
painters  and  sculptors,  as  well  as  by  the  general  public. 

Mr.  Faulkner  speaks  highly  of  gelatine  plates  for  making  re- 
productions, the  soft,  subdued  character  of  the  image  yielded  by 
a  gelatino-bromide  film  being  specially  applicable  to  such  work. 
For  all  his  studio  work,  gelatine  plates  are  also  employed,  and 
Mr.  Faulkner's  establishment  is  one  of  the  few  in  which  the 
silver  bath  has  been  wholly  and  completely  got  rid  of. 

We  will  walk  upstairs  into  the  glass  room,  for  our  readers  are 
doubtless  eager  to  learn  all  they  can  of  Mr.  Faulkner's  method 
of  treating  his  infant  sitters.  Our  host  courteously  affords  every 
information.  How  does  he  arrest  their  attention,  call  up  that 
glow  of  intelligence  in  their  faces,  and  give  that  vivid  animation 
to  their  features  ?  we  ask  ;  is  it  a  matter  of  toys,  or  conjuring, 
or  story-telling?  "  A  ball  is  the  best  of  all  toys,"  replies  our 
host ;  "  this  cow  that  gives  real  milk,  often  provokes  wonder  ;  99 
it  is  a  toy  treated  Abyssinian  fashion,  a  steak  being  removed 
from  one  of  the  flanks  in  order  to  permit  the  introduction  of  the 
milk  in  the  first  place ;  but  one  must  rely  a  good  deal  upon  one's 
sayings  and  doings." 

The  camera  and  stand  must  be  described.  The  stand  is  of 
iron  to  give  solidity,  and  upon  it  are  placed,  one  above  the  other, 
two  cameras  of  almost  equal  size.  The  ground  glass  of  the 
upper  camera  can  be  seen  without  stooping,  and  hence  the  focus- 
sing is  done  with  the  greatest  ease.  A  guard  or  screen,  perma- 
nently fixed,  throws  the  ground-glass  into  shadow,  and  there  is 
no  occasion,  therefore,  for  a  dark-cloth.  The  cameras  are  fixed 
together ;  hence  one  focussing  arrangement  does  for  both.  The 
lower  camera  only  receives  a  dark  slide,  the  upper  one  is  employed 
simply  for  focussing  3nd  watching  the  sitter ;  in  a  word,  the 
upper  camera  acts  as  a  "  finder."  Under  these  circumstances, 
as  may  be  understood,  the  operations  go  on  with  smoothness  and 
ease.  There  is  no  dark  cloth,  no  pushing  on  one  side  the  focus- 
sing screen  to  admit  the  entrance  of  a  dark  slide.  There  is  a 
sensitive  plate  always  ready  in  the  lower  camera,  and  no  sooner 
has  the  model  taken  its  seat  than  the  operation  may  begin.  The 
slide  holds  a  plate  large  enough  for  four  or  six  portraits,  and  if 
one  of  these  is  successful,  Mr.  Faulkner  holds  himself  a  happy 
man. 

A  movable  pedestal,  eighteen  inches  from  the  ground,  serves 
as  a  platform  whereon  to  pose  the  model.   The  sitter  may  thus 


MR.  ROBERT  FAULKNER. 


71 


be  presented  to  the  camera  under  one  aspect  or  the  other,  with- 
out being  troubled  to  move  at  all,  and  the  photographer  standing 
behind  the  cameras  watching  his  opportunity  has  every  chance 
in  his  favour.  Often  the  sitter,  immediately  it  sits  down,  is  at 
its  best ;  while  under  ordinary  circumstances,  the  model  has  to 
obey  twice,  namely,  at  the  time  of  focussing  and  the  time  of  ex- 
posure, and  sometimes  gets  so  fatigued  over  the  former  operation 
that  it  has  lost  all  animation  during  the  latter ;  Mr.  Faulkner,  by 
the  assistance  of  his  movable  platform  and  double  camera,  is 
enabled  quickly  to  seize  any  and  every  favourable  opportunity 
that  presents  itself. 

That  Mr.  Faulkner  is  an  artist  of  a  high  order,  and  stamps  his 
work  with  the  imprint  of  his  genius,  is  known  to  all  who  are 
familiar  with  his  work,  and  obviously  we  cannot  follow  him  very 
far,  unless  we  too  possess  the  same  attributes.  But  we  can  all 
of  us  do  our  best,  if  we  like,  and  a  visit  to  Mr.  Faulkner's  estab- 
lishment shows  how  much  may  be  done  in  photography  if  one  is 
gifted  with  taste  and  endowed  with  application.  Mr.  Faulkner's 
studio  has  little  in  it  that  is  remarkable,  but  he  employs,  as  we 
have  seen,  his  means  to  the  best  of  his  ability.  The  lighting  is 
of  a  very  simple  character.  A  skirting  board  rises  live  feet  from 
the  floor,  and  there  is  no  top-light.  The  side  where  it  is  glazed 
is  of  large  sheets  of  transparent  glass  ;  but  this  is  used  with  the 
utmost  moderation.  Blinds  are  freely  drawn  near  the  camera, 
and  in  the  vicinity  of  the  sitter  large  squares  of  transparent  paper 
may  be  made  to  cover  the  glass. 

Mr.  Faulkner  has  no  other  models  than  the  little  sitters  who 
come  to  him  in  the  course  of  business.  The  delightful  studies  in 
red  chalk  that  he  publishes  in  such  large  numbers  are  simply 
selections  from  his  negatives.  He  pays,  however,  much  atten- 
tion to  the  dressing — or,  rather,  undressing — of  his  models. 
This  little  garment,  we  see,  apparently  of  yellow  silk,  it  is  so 
soft  and  glossy,  is  but  fashioned  out  of  fine  calico,  the  edges 
frayed,  not  hemmed,  and  dipped  roughly  into  a  little  Judson's  dye 
to  give  colour.  Dressed  in  this  simple  tunic,  no  wonder  the  pink 
arms  and  legs  of  the  model  appear  to  such  advantage,  and  that 
the  drapery  is  rendered  with  such  harmony  and  detail,  But  Mr. 
Faulkner  has  a  grievance :  he  is  dissatisfied  with  the  printing 
processes  of  to-day  for  small  work.  Carbon  printing,  he  avows, 
is  not  at  the  present  moment  sufficiently  advanced  for  the  print- 
ing of  cartes,  although  it  answers  so  admirably  for  larger  pictures. 


72 


STUDIOS  IN  LONDON. 


The  only  thing  that  can  give  us  the  full  amount  of  delicacy  and 
permanence,  in  Mr.  Faulkner's  opinion,  is  collodio-chloride  paper. 
"  I  have  an  album  downstairs,  which  I  will  show  you,  in  which 
all  the  prints  are  fifteen  years  old  ;  they  are  mounted  on  plate 
paper,  and  therefore  should  be  the  last  to  show  traces  of  fading. 
But  in  that  book  there  are  only  two  pictures  in  which  these 
traces  cannot  be  recognised ;  the  one  is  a  Wothlytype,  the  other 
a  collodio-chloride  picture." 

As  to  the  delicacy  furnished  by  albumen  and  collodio-chloride, 
there  is  no  doubt  as  to  the  advantage  being  on  the  side  of  the 
latter.  Before  the  prints  go  into  the  fixing  bath,  the  albumen- 
ized  paper  prints  will  doubtless  compare  well  enough  with  col- 
lodio-chloride, but  the  fixing  bath  removes  fine  gradations  from 
the  albumen  surface ;  the  collodio-chloride,  on  the  other  hand, 
is  not  attacked  by  the  hyposulphite  solution,  and  retains  all  the 
delicate  gradations  with  which  it  has  been  impressed  during 
the  pr'nting  operation.  But  collodio-chloride  paper  cannot 
be  purchased  fresh  and  new  in  this  country.  "  The  Germans 
have  makers  of  collodio-chloride  paper  in  their  midst ;  cannot 
we  find  a  single  manufacturer  of  photographic  materials  enter- 
prising enough  in  this  country  to  give  us  what  we  want  ?  "  asks 
Mr.  Faulkner. 


THE  VAN  DER  WEYDE  ELECTRIC  STUDIO  IN  REGENT 

STREET. 

The  lamps  in  Eegent  Street  are  lit,  for  the  light  fades  early 
these  short  wintry  days.  It  is  still  afternoon  ;  the  Quadrant  is 
full  of  life  ;  the  gay  costumes  of  the  promenaders,  now  veiled 
in  the  mist  of  twilight,  now  made  resplendent  by  the  vivid 
illumination  of  the  shops,  lose  none  of  their  attraction,  but,  on 
the  contrary,  seem  enhanced  rather  u  between  the  dark  and  the 
daylight  when  the  night  is  beginning  to  low'r."  Longfellow 
is  not  alone  in  loving  the  period ;  we  believe  every  thorough- 
bred Cockney  rejoices  in  this  time  between  the  lights,  and  it  is  the 
one  thing  that  reconciles  him  to  winter  when  it  comes  upon  us. 
There  is  a  feeling  of  warmth,  of  cosiness,  of  brightness,  of 
snugness  prevailing  at  such  times,  which  dwellers  in  great 
cities  always  delight  in,  and  which  may  be  considered  a  set-off 
against  the  many  advantages  our  country  cousins  enjoy. 


VAN  DER  WEYDE. 


7a 


u  I  like  to  stroll  down  Eegent  Street,"  says  the  song,  and 
between  afternoon  and  evening  the  sentiment  appears  to  be  a 
very  popular  one.  It  is  Cattle  Show  week,  and  this  may  have 
something  to  do  with  augmenting  the  busy  crowd  of  loungers 
that  hustle  one  another  upon  the  glimmering  pavement  before 
the  bright  shops  and  under  the  glittering  lamps.  It  may  not  be 
"the  season "  in  town;  but  London  is  full,  for  all  that,  and  so 
bustling  and  animated  a  scene  is  rarely  found  at  any  other  time 
of  the  year. 

It  is  hardly  a  seasonable  hour  to  visit  a  photographic  studio, 
one  would  think ;  but  we  have  purposely  delayed  our  call. 
The  card  of  invitation  says  any  hour  before  7*30  p.m.,  so  we  are 
in  plenty  of  time.  Mr.  Van  der  Weyde's  studio  is  in  a  magni- 
ficent position  in  the  very  centre  of  Eegent  Street ;  and,  of 
what  Mr.  Van  der  Weyde  is  very  proud,  it  is  under  a  slate 
roof.  There  is  not  even  a  sky -light,  lest  the  suspicion  should 
gain  ground  that  sometimes  daylight  is  employed  for  photo- 
graphic purposes.  The  Van  der  Weyde  establishment  is  a 
winter  studio  par  excellence,  it  might  be  said,  only  that, 
curiously  enough,  it  is  in  summer  when  most  of  the  work  is 
done,  for  the  simple  reason  that  the  London  season  is  during 
the  longer  months.  "What  strikes  one,  indeed,  in  looking  over 
the  portraits  here,  is  that  so  many  persons  should  be  represented 
in  evening  dress ;  but  the  mystery  is  solved  by  the  explanation 
that  the  ladies  and  gentlemen  in  question  have  been  photo- 
graphed in  the  evening  before  they  sat  down  to  dinner,  or  maybe 
rafter  they  came  home  from  the  opera.  It  is  but  the  other  day 
we  read  of  the  Prince  of  "Wales  being  photographed,  after  having 
first  passed  the  evening  at  the  play  ;  while  it  is  not  so  long  ago 
that  Mr.  Van  der  Weyde  had  a  call  from  Captain  Shaw,  of  the 
Pire  Brigade,  accompanied  by  a  certain  duke  whose  fire-loving 
qualities  are  well-known,  the  visitors  arriving  at  midnight,  and 
not  departing  till  one  in  the  morning.  "Whether  they  came  to 
see  if  the  electric  studio  were  on  fire  is  a  moot  question,  but 
certain  it  is  they  were  not  permitted  to  go  till  some  very  excel- 
lent portraits  had  been  taken. 

Mr.  Van  der  Weyde's  series  of  Eoyal  pictures  is  a  large  one ; 
but,  fine  as  it  is,  the  collection  of  "  professional "  portraits  he 
has  made  is  the  most  attractive.  Perhaps  ladies  and  gentle- 
men who  are  in  the  habit  of  appearing  before  the  footlights 
make  better  pictures  with  artificial  illumination.    Here  is  a 


74 


STUDIOS  m  LONDON. 


portrait  of  Josef  Gung'l,  the  composer;  here  is  Toole,  the 
comedian ;  here  is  Edwin  Booth,  and  here  is  Henry  Irving. 
All  are  clear,  forcible,  and  brilliant — well  lighted,  and  agreeably- 
posed.  Mr.  Van  cler  Weyde  has  discarded  the  dioptric  or 
"  lighthouse "  lens  he  formerly  employed,  and  of  which  a 
description  was  given  some  years  ago.  His  electric  light  has  a 
brilliancy  equal  to  6,000  candles,  and  is  produced  by  a  Gramme, 
or  Siemens,  machine,  as  may  be  found  most  convenient,  for  both, 
systems  find  a  place  in  the  engine  room.  The  engine  is  one  of 
Otto's  gas  engines,  Mr.  Van  cler  "Weyde,  we  believe,  having  been, 
the  first  to  apply  a  gas  engine  to  the  evolution  of  electricity. 

Mr.  Van  der  "Weyde,  in  explanation  of  his  light,  said  : — "I 
had  my  gas-engine  put  up  September,  1877,  in  direct  opposition 
to  the  advice  of  the  manufacturers  of  my  electric  machine.  I 
never  use  an  electric  lamp,  but,  as  you  see,  have  invented  a 
much  more  practical  arrangement  for  my  purpose.  I  simply 
bring  my  carbons  together  by  a  movement  of  the  hand.  The 
positive  20-millimetre  carbon  is  stuck  right  through  the  saucer, 
and  can  be  pushed  in  from  time  to  time  as  it  burns.  The  nega- 
tive 15-millimetre  carbon,  fastened  in  a  rod  which  passes  through 
the  back  and  centre  of  the  reflector,  is  also  adjustable.  The 
saucer  and  positive  carbon,  being  fixed  to  a  flexible  brass  rod, 
can  be  made  to  approach  the  other  carbon  by  simply  pulling  the 
cord  attached,  and  which  passes  through  the  back  of  the  reflector, 
and  over  a  small  drum.  I  first  designed  another  position  for  the 
carbons,  but  on  the  same  principle,  but  find  this  better,  as 
the  reflector  gets  the  full  benefit  of  the  strongest  rays." 

We  walk  into  one  of  the  studios.  The  most  prominent  object 
is  a  large  cup-shaped  reflector,  in  the  middle  of  which  is  the 
electric  light.  This  reflector  is  five  or  six  feet  in  diameter,  like 
the  half  of  a  huge  globe,  the  interior  being  of  white  paper ;  it 
hangs  loosely  from  the  ceiling,  and  is  provided  with  a  handle, 
so  that  an  assistant,  who  holds  it  the  while,  can  direct  the  light 
as  he  pleases.  As  a  rule,  it  reflects  the  light  downwards  on 
the  sitter  at  an  angle  of  something  like  45°.  The  electric  glow 
of  the  carbon  points  is  not  seen  by  the  sitter,  because  a  little 
saucer,  situated  just  below  the  spark,  intervenes,  throwing  the 
light  upwards  into  the  parachute  reflector,  whence  it  is  reflected 
upon  the  sitter.  Mr.  Van  der  Weyde  does  not  cover  in  his 
electric  light  by  means  of  a  sheet  of  thin  paper  (giving  it  the 
form  of  a  kettle-dium  inverted),  as  do  M.  Liebert,  of  Paris,, 


VAN  DER  WEYBE, 


75 


and  the  Stereoscopic  Company,  but  employs  the  full  force  of  the 
light  without  subduing  it  by  a  medium.  He  is  thus  enabled  to 
make  very  quick  exposures.  Cartes  of  children  are  secured  in 
one  or  two  seconds  ;  while  the  cabinet  portraits  and  promenade 
portraits,  which  are  Mr.  Van  der"Weyde's  speciality,  require  but 
from  six  to  seven  seconds,  gelatine  plates  being,  of  course,  made 
use  of. 

The  sitter  is  surrounded  by  white  screens  during  the  exposure, 
except,  of  course,  on  the  side  of  the  reflector ;  there  is  even  a 
screen  in  front  of  the  sitter,  pushed,  in  the  case  of  a  vignette, 
within  a  foot  or  eighteen  inches  of  the  model,  an  opening  in 
the  latter  screen  permitting  the  camera  to  peep  through.  There 
cannot  be  a  doubt  that,  under  some  circumstances,  a  front  screen 
—such  as  this — especially  if  it  had  movable  wings,  or  reflectors 
at  sides,  top,  and  bottom,  might  be  advantageously  employed  for 
daylight  portraits. 

A  young  lady  is  ready  posed  as  we  enter.  Mr.  Yan  der 
Weyde  himself  arranges  the  model,  and  directs  the  lighting.  One 
assistant,  holding  the  reflector,  obeys  his  directions,  while  a 
second  focusses,  and  makes  the  camera  ready.  The  portrait  is  to 
be  a  profile,  illuminated  by  an  edge  light,  and  the  reflector  is  so 
turned  that  the  white  screen  at  the  back — which  serves  as  back- 
ground— is  cast  somewhat  in  the  shadow.  We  peep  through  the 
camera  opening,  and  the  effect  is  delightful.  The  lady  is  young 
in  years  and  comely  in  face,  and,  as  she  sits  there,  the  pure 
electric  light  flooding  face  and  shoulders,  and  brilliantly  illumi- 
nating her  features,  we  are  reminded  of  the  good  fairy  in  the 
enchanted  island  of  dazzling  light,  or  the  pretty  princess  of  the 
realms  of  brightness,  with  whom  we  all  become  acquainted  about 
Christmas  time. 

In  practised  hands  the  reflector  permits  of  a  wide  range  of 
lighting,  and  it  is  the  effects  thus  obtained  that  have  had  much 
to  do  with  the  success  of  the  Yan  der  Weyde  portraits.  Again, 
instead  of  being  hard,  or  black  and  white,  the  fault  inherent,  one 
would  think,  to  artificial  lighting,  the  pictures,  by  reason  of  the 
skilful  lighting,  ar®  soft  to  a  degree,  and  Mr.  Yan  der  Weyde 
tells  us  he  has  never  to  retouch  a  high-light. 

A  little  incident  of  the  studio  may  here  be  mentioned.  The 
lady  would  like  a  second  picture,  without  her  bonnet.  There  is 
no  need  to  get  up  and  go  away  to  arrange  her  hair  or  head-dress ; 
an  elegant  little  toilet  table  on  castors,  with  mirror  and  brushes,. 


76 


STUDIOS  IN  LONDON. 


is  pushed  towards  her  chair,  and,  without  moving,  she  can  make 
her  toilet  as  comfortably  as  in  a  boudoir.  Not  only  is  the  lady 
not  inconvenienced,  but  the  photographer  is  not  kept  waiting. 
Mr.  Van  der  "Weyde  always  employs  a  loud-ticking  metronome 
in  the  studio ;  as  his  source  of  light  is  pretty  constant,  if  he 
accurately  regulates  the  exposure,  he  is  sure  of  securing  negatives 
of  equal  density. 

We  mention  the  studio,  but  there  are  no  studios  in  the  ordi- 
nary sense  of  the  term ;  the  portraits  are  taken  in  two  ordinary 
rooms,  thickly  carpeted  and  warmly  furnished,  and  presenting 
little  difference  from  sitting  or  drawing-room.  The  one  is  for 
groups,  the  other  for  single  pictures  ;  but,  beyond  the  fact  that 
in  the  former  the  reflector  is  rather  bigger,  the  rooms  are  much 
alike.  The  dressing-rooms  are  well  appointed,  and  in  one  of  them 
was  a  large  so-called  Japanese  mirror,  a  mirror  such  as  many  of 
our  readers  have  seen,  with  folding  wings,  which,  when  opened 
at  right  angles  to  the  front  mirror,  permit  the  fair  observer  to  see 
even  the  back  of  her  head,  if  she  likes.  A  looking-glass  like 
this  is  a  more  handsome  piece  of  dressing-room  furniture  even 
than  a  cheval  glass. 

Mr.  Yan  der  Weyde  charges  for  sittings,  and  not  for  portraits. 
A  sitting  for  the  promenade  portrait,  including  eight  copies,  is 
charged  three  guineas ;  for  "  cabinet,"  including  twelve  copies, 
two  guineas ;  or,  if  large  heads  are  desired,  then  a  guinea  more 
is  the  fee.    Cartes  are  one  guinea  a  dozen. 


THE  PLATINOTYPE  COMPANY  AT  BKOMLEY  KOAD. 

A  bad  negative,  or  an  indifferent  one,  is  best  printed  in  silver  ; 
since  you  can  see  better  what  you  are  doing,  you  can  control 
and  dodge  the  better.  For  this  reason,  silver  is,  and  will  ever 
remain,  a  favourite  process;  but  given  a  good  negative,  then 
platinotype  may  be  used  with  advantage  in  a  great  many  respects. 
'It  is  true,  that  if  you  compare  two  prints  from  a  fine  negative, 
the  one  in  platinum  and  the  other  in  silver,  the  former,  as  a  result, 
is  still  behind  the  latter,  in  the  opinion  of  some  photographers  ; 
but  then  comes  in  the  balance  of  advantages.  Although,  as  a 
photographic  result,  the  silver  print  is  to  be  preferred,  the  deli- 
,  cate  warm  grey  tone  of  the  platinum  impression  goes  for  much 


THE  PLATINOTYPE  COMPANY. 


77 


with  a  large  number  of  people,  and  with  painters  and  artists  in- 
particular,  who  hold  it  in  high  favour  by  reason  of  its  fine 
engraving-like  aspect.  Moreover,  as  much  by  reason  of  its  tone 
as  on  account  of  the  unglazed  surface  of  the  print,  the  platino- 
type  is  thoroughly  well  adapted  for  artistic  colouring. 

But  the  principal  advantage  of  platinotype  is  its  permanence.  - 
Mr.  Spiller  has  made  a  searching  investigation  of  the  matter, 
and  his  opinion  is  that  the  print  will  last  as  long  as  the  paper. 
His  plan  of  testing  the  prints  he  thus  describes : — 

"Some  of  the  prints  were  cut  into  sections  and  separately 
treated,  so  that  the  portions  could  afterwards  be  patched  together 
again  for  comparison,  when  any  loss  of  vigour  or  alteration  of 
tone  would  become  at  once  apparent. 

"  In  this  way  I  have  tried  the  action  of  all  the  common  acids, 
using  these  of  such  degrees  of  strength  as  seemed  fair  to  the 
paper  basis  of  the  photographs.  Thus,  the  nitric  acid  was 
diluted  with  an  equal  bulk  of  water,  and  sulphuric  acid  with 
three  measures  of  water ;  but  hydrochloric  acid,  having  itself  so- 
little  action  upon  paper,  permitted  of  its  being  employed  in  tha 
concentrated  form.  After  an  hour's  immersion  not  one  of  these 
acids  exerted  the  slightest  action  upon  the  platinum  prints,  nor 
did  weak  caustic  soda,  sulphurous  acid,  hyposulphite  of  soda, 
strong  ammonia,  or  cyanide  of  potassium.  The  last-named  re«- 
agent  draws  a  sharp  line  between  a  platinum  print  and  an 
ordinary  gold-toned  photograph,  showing  a  clear  distinction  in. 
favour  of  platinum  black  as  against  reduced  gold,  and  negativing 
a  direct  assertion  on  this  head  by  Dr.  Van  Monckhoven. 

"  With  regard  to  chlorine,  I  found,  much  to  my  surprise,  that 
a  slip  suspended  within  the  neck  of  a  flask  from  which  chlorine 
gas  was  freely  disengaged  suffered  no  harm ;  nor  even  in  another 
trial  when,  by  accident,  the  print  fell  into  the  acid  liquid  from 
which  the  chlorine  was  being  evolved.  Further,  I  am  prepared 
to  say  that  nascent  chlorine  does  not  affect  the  platinotypes 
unless  the  conditions  are  very  severe,  or  such  as  to  bring  about 
an  actual  disintegration  of  the  paper,  as  by  an  attack  of  warm 
aqua-regia." 

But  we  must  proceed  to  describe  the  process.  Mr.  Berkeley, 
who  is  one  of  the  directors  of  the  company,  has  some  prints  at 
hand  that  have  just  come  from  the  frames,  and  these  we  examine 
in  a  subdued  white  light.  "You  know  the  process  perfectly 
well,  of  course,"  says  Mr.  Berkeley,    "  Of  course,  of  course," 


78 


STUDIOS  IN  LONDON. 


is  our  reply,  and  then  we  hesitatingly  add  in  effect,  after  the 
manner  of  the  Bourgeois  Gentilhomme,  "  mats  faites  comme  si  je 
ne  le  savaispas" 

Mr.  Berkeley  is  good  enough  to  accede  to  our  wish.  "  This, 
you  see,  is  a  roll  of  paper  as  we  receive  it,"  he  says.  Since  it 
is  a  roll  some  five  feet  broad  and  a  yard  or  two  thick,  there  is  no 
difficulty  about  seeing  it,  and  we  at  once  say  so.  "  Only  Saxe 
paper  is  employed,  and  this  comes  direct  from  Steinbach,"  and 
then  Mr.  Berkeley  proceeds  to  say  how  it  is  prepared  for 
platinotype  purposes. 

After  a  preliminary  sizing,  a  coating  of  ferric  oxalate  and 
platinous  chloride  is  applied  to  the  surface  of  the  paper  by  means 
of  a  brush  or  pad,  the  work  being  done  by  girls,  who  are  more 
light-handed  than  men.  The  platinum  salt  employed  is  that 
most  easily  reduced,  and  the  paper  is  now  sensitive  to  light  and 
fit  for  issue.  But  platinotype  has  one  arch-enemy,  and  that  is 
damp.  If  you  will  only  keep  the  paper  dry,  and  all  things  that 
come  in  contact  with  it,  your  printing  will  be  a  success  ;  but  not 
otherwise.  There  is  little  difficulty  about  doing  this,  if  you  will 
follow  the  instructions  of  the  Company ;  a  tube  or  cylinder  of 
tin  is  a  handy  utensil  for  storing  paper  or  prints,  the  cylinder 
having  at  one  end  a  receptacle  for  chloride  of  calcium,  while  as 
to  keeping  the  paper  dry  in  the  printing  frame,  this  is  done  by 
the  simple  precaution  of  putting  a  soft  rubber  pad  or  sheet  over 
negative  and  paper. 

The  sensitiveness  of  platinotype  paper  is  calculated  to  be  about 
three  times  that  of  chloride  of  silver  paper,  but  you  cannot  watch 
the  progress  of  printing  quite  so  well.  The  image  is  very  faint, 
and  it  is  not  until  the  printer  has  had  a  little  experience  that  he 
can  judge  accurately.  The  difficulty  is  one,  however,  easily 
surmounted,  and,  moreover,  when  it  comes  to  the  development 
of  the  print,  you  have  the  means  at  hand  to  correct  over-  and 
under-exposure. 

To  development  Mr.  Berkeley  now  proceeds: — A  solution  of 
oxalate  of  potash  is  heated  in  a  flat  dish  tol70porl80°P.  If 
the  prints  are  under-exposed  (the  first  print  of  the  batch  is  a  good 
tell-tale),  then  the  temperature  is  raised ;  if  over-printed,  the 
developer  is  used  less  warm.  Mr.  Hollyer — one  of  the  masters 
of  platinotype  printing — sometimes  employs  the  bath  only  tepid, 
taking  half  a  minute  to  develop  a  print.  But,  as  a  rule,  the 
picture  is  developed  instantly.    No  sooner  have  you  placed  the 


THE  PLATINOTYPE  COMPANY. 


79 


phantom  brown  image,  face  downwards,  upon  the  warm  solution 
than  a  bright  vigorous  picture  starts  into  view — -a  dark  grey- 
print,  forcible  and  strong,  and  yet  possessed  of  that  softness  and 
delicacy  which  make  platinotype  so  beloved  by  artists. 

There  is  no  toning,  fixing,  or  even  washing  in  the  ordinary 
sense  of  the  term.  A  water  bath  acidulated  with  a  little  hydro- 
chloric acid  receives  the  print,  which,  after  a  minute  or  two,  is 
lifted  into  a  second,  and,  may  be,  a  third  similar  bath.  The 
object  is  to  discharge  all  the  iron  salt  remaining  in  the  paper, 
and  as  soon1  as  the  baths  have  no  longer  a  yellow  tint,  the 
washing  may  be  discontinued. 

Of  what  is  the  finished  image  composed  ?  it  may  be  asked. 
Pure  platinum,  in  the  form  that  is  known  as  spongy  platinum, 
or,  rather,  platinum  black ;  in  a  word,  the  finest  state  of  division 
in  which  that  metal  occurs.  Metallic  platinum,  as  everybody 
knows,  is  one  of  the  most  stable  of  substances,  and,  therefore, 
there  is  little  fear  of  any  change  taking  place  on  account  of 
contact  with  chemical  substances  that  may  come  near  the  film. 
That  is  to  say,  the  platinum  is  not  likely  to  change ;  but  since 
platinum  black  is  known  to  chemists  as  possessing  strong 
catalytic  action  (the  power  to  induce  decomposition  in  another 
body  without  itself  undergoing  perceptible  alteration),  any  sub- 
stance in  contact  with  it  might  not  share  the  same  immunity. 
Stephenson's  well-known  rejoinder  to  the  question  what  would 
happen  if  a  cow  got  upon  his  new  railway,  "So  much  the 
worse  for  the  coo,"  might  well  be  paraphrased  here,  for, 
apparently,  in  the  case  of  any  chemical  body  coming  near  a 
platinum  print,  the  resulting  danger  would  be  only  to  the  body 
in  question.  For  all  this,  however,  no  pigment  has  ever  been 
found  to  change  on  application  to  a  platinotype. 

The  developing  liquid — oxalate  of  potash  solution — is 
employed  over  and  over  again,  and  must  not  be  thrown  away, 
since  it  contains  after  use  a  good  deal  of  platinum  that 
may  be  recovered  in  the  form  of  residue  as  easily  as  silver  is 
from  washings  in  the  ordinary  printing  process.  Tn  the  same 
way,  trimmings  and  cuttings  of  the  paper  are  valuable,  and 
should  not  be  thrown  away.  The  prepared  paper  has  a  yellowish 
tint,  and  for  this  reason  the  laboratory  or  printing-room  should 
not  be  illuminated  by  yellow  glass ;  a  feeble  white  light  is  far 
preferable. 

As  most  of  our  readers  know  very  well,  vignetting  and  fancy 


80 


STUDIOS  IN  LONDON. 


printing  is  as  easily  conducted  with,  platinotype  as  with  the 
chloride  of  silver  process,  the  results,  in  every  case,  possessing 
the  cold  grey  tone  inseparable  to  platinum.  This  tone,  however, 
much  as  the  absence  of  much  warmth  may  be  regretted,  is  at  a 
premium  with  book-publishers,  by  reason  of  its  harmony  with, 
letter-press  and  engravings.  Silver  prints  never  harmonise  well 
with  type,  but  platinotype  does  so  very  perfectly. 

Mr.  Berkeley  was  good  enough  to  show  us  some  examples  of 
platinotype  enlarging,  sent  over  from  New  York  by  Mr.  Willis, 
to  whom  we  all  know  the  elaboration  of  the  process  is  due ;  these 
enlargements  were  secured  from  small  negatives  by  the  aid  of 
electric  light,  and  were  exceedingly  satisfactory,  both  in  respect 
to  vigour  and  detail. 


ME.  ALEXANDER  BASSANO  AT  OLD  BOND  STREET. 

Me.  Bassano's  gallery  in  Old  Bond  Street  at  once  impresses  you 
with  this  idea :  it  is  exactly  the  sort  of  studio  we  should  all  of 
us  like  to  have.  A  handsome  suite  of  rooms  on  the  first  floor  in 
a  fashionable  thoroughfare,  a  clientele  that  troubles  you  only  in 
the  season,  and  sitters  who  do  not  object  to  pay  well  for  the 
attention  they  receive.  Listen  to  this,  good  friends,  who  believe 
that  photographic  portraiture  is  no  longer  worthily  recompensed. 
"  Mr.  Bassano's  terms  are  :  Two  guineas  for  the  sitting,  which 
sum  entitles  the  sitter  to  either  twelve  cabinets  or  twenty  carte- 
de-visite  photographs.' '  This  we  take  from  Mr.  Bassano's  card ; 
and  another  little  bit  of  pasteboard  in  our  possession,  "  Appoint- 
ment for  sitting,"  says:  " Should  it  not  be  convenient  to  keep 
the  above  appointment,  notice  must  be  given  to  that  effect  by 
return  of  post,  otherwise  the  fee  for  the  sitting  will  be  charged ; 
or  the  appointment  card  may  be  transferred  to  a  friend  at  the 
option  of  the  intending  sitter." 

The  reception  rooms  in  Bond  Street  are  a  series  of  well- 
appointed  drawing  rooms  in  which  sitters  and  callers  may  lounge 
at  leisure.  Everything  here  is  quiet  and  subdued,  and  if  any 
fault  can  be  found,  it  is  rather  that  the  elegant  furniture  and 
soft  carpets  are  a  little  too  quiet.  Some  magnificent  carbon 
enlargements  adorn  the  walls,  rather  larger  than  life-size,  we 
should  say,  for  they  are  mostly  three-quarter  portraits,  and  taken 


MR.  ALEXANDER  BASSANO. 


81 


on  plates  48  by  36.  "  People  are  beginning  to  find  out  that 
silver  pictures  are  not  permanent,' '  said  Mr.  Bassano,  "  and  every- 
day carbon  pictures  are  making  headway."  A  magnificent  pic- 
ture of  the  Duke  of  Connaught,  and  another — this  one  especially 
fine — of  the  Duchesse  de  Marino,  may  be  mentioned  as  master- 
pieces, while,  almost  as  a  matter  of  course,  there  are  oil  paintings 
and  crayons  to  be  seen,  all  executed  upon  a  photographic  basis.  In 
one  corner  of  the  room  are  three  busts — the  Duke  of  Connaught, 
the  Prince  Imperial,  and  John  Evelyn,  of  "Wooton,  a  lineal 
descendant  of  him  of  the  Diary,  all  the  personal  work  of 
Mr.  Bassano,  for,  like  his  late  Parisian  confrere,  Adam-Salomon, 
our  host  is  a  sculptor  of  some  note.  But  a  few  minutes  before 
our  visit,  indeed,  the  Duchess  of  Connaught  had  paid  a  private 
call  to  see  her  royal  husband  in  plaster. 

Mr.  Bassano  is  introducing  a  new  portrait  which  he  terms  the 
Holbein,  and  which  he  considers  is  calculated  to  show  both  a  full 
and  half-length  portrait  to  advantage ;  the  size  is  7-J  by  5  inches, 
and  the  proportions  are  certainly  very  handsome.  Photography 
cannot  idealise,  but  should  be  "  nature  apprehended  in  its  most 
intellectual  phase,"  is  Mr.  Bassano' s  view;  and  there  will  be  but 
few  who  do  not  agree  with  him.  Nothing  idealistic  ought  to  be 
attempted,  since  the  photographer  is  sure  to  fail ;  his  province  is 
rather  to  make  a  graceful  and  happy  portrait,  and  with  this  he 
should  fain  be  content.  A  stout  scrap-book  of  large  dimensions, 
such  as  would  not  suffer  if  handled  a  bit  roughly,  stands  con- 
venient to  visitors,  and  here  they  can  at  once  see  how  far 
Mr.  Bassano  is  true  to  his  principles.  It  contains  a  whole  series 
of  Zulu  heroes :  Sir  Thomas  Pearson,  a  bluff  British  colonel ; 
Eedvers  Buller,  Y.C.,  longheaded  and  intellectual ;  Chard,  of 
Eork's  Drift,  the  beau  ideal  of  a  dashing  young  officer,  &c,  &c. 
A  stout  scrap-book  of  this  kind  is,  our  readers  might  note,  an  inte- 
resting item  in  the  reception  room. 

There  is  a  charming  Eembrandt  portrait  of  Mrs.  Langtry,  a 
bold  picture  of  H.E.H.  the  Field  Marshal  Commanding  in  Chief, 
and  of  other  illustrious  personages  worthy  of  note.  But  we  must 
go  upstairs  to  the  studio.  We  leave  the  comfortable  reception 
room — having  first  signalled  our  coming  above  at  one  of  a  series 
of  ivory  whistles,  which  plainly  betoken  system  and  order — and 
ascend  a  broad  staircase.  We  peep  into  the  dressing  rooms  on 
our  way — all  of  them  apartments  of  considerable  dimensions,  for 
ladies,  if  in  court  dress,  like  plenty  of  room  for  their  trains  and 

G 


82 


STUDIOS  IN  LONDON. 


feathers — and  then  mount  once  more.  There  are  two  studios, 
lighted  from  the  same  direction,  N.E.  and  S.E.,  so  that  both 
ends  of  the  studios  may  be  made  use  of.  In  the  principal  studio 
— 26  feet  in  length — there  was  but  one  background.  But  it  was 
a  long  one.  It  measured  no  less  than  80  feet,  and  was  mounted 
on  perpendicular  rollers  like  a  panorama.  Its  handiness  was 
obvious.  As  it  was  deftly  passed  in  review,  the  tint  changed 
from  warm  to  cold,  the  scene  from  outdoor  to  indoor,  and,  in  a 
word,  progressed  through  every  phase.  Mr.  Bassano  permits 
the  sitter  to  be  in  his  studio  half-an-hour,  and  as  several  pictures 
are  taken,  this  period  he  holds  to  be  quite  brief  enough.  It  is 
another  matter  with  a  vignette,  where,  perhaps,  but  a  turn  of 
the  head  is  necessary  to  alter  the  pose  ;  but  with  full  or  three- 
quarter  length  portraits,  much  time  is  necessary.  Moreover,  he 
believes  that  the  trouble  taken  is  not  thrown  away,  for  if  you 
please  a  sitter,  he  generally  holds  to  the  same  portrait  year  after 
year,  and  asks  for  it  to  be  printed  in  this  style  or  that,  rather 
than  go  to  the  trouble  of  a  fresh  sitting.  The  cameras,  by  the 
way,  are  provided  with  a  square  hood  or  funnel  of  black,  pro- 
jecting twelve  inches  beyond  th.e  lens,  to  shade  this  from  the 
light. 

Another  point  that  struck  us  in  the  studio  was  the  presence 
of  nought  but  real  furniture.  The  tables,  chairs,  and  bookcases 
were  real,  the  piano  was  real,  the  Persian  carpet  was  real. 
The  illumination  was  a  high  side  light,  the  skirting  board 
coming  up  about  two  feet  six  inches  from  the  floor,  and 
the  curtains  of  blue  linen  were  so  arranged  that  by  the  lower 
ones  being  permitted  to  rise  and  the  upper  ones  to  fall,  you 
could  light  the  sitter  by  a  central  illumination,  which  central 
illumination  could  be  high  or  low  as  occasion  required.  Mr, 
Bassano  permits  the  sitter  to  be  accompanied  by  his  or  her 
friends  into  the  studio;  he  makes  no  restriction;  they  may  do 
as  they  please.  There  is  a  portion  partitioned  off  by  curtains 
where  friends  may  sit,  and  whence  issue  the  dark  rooms. 

Of  course  Mr.  Bassano  is  fully  alive  to  the  advantages  of 
gelatine  plates,  and  considers  they  were  sent  as  a  sort  of  provi- 
dence during  our  heavy  fogs.  But  the  gelatine  films  are 
difficult  to  retouch  upon.  Mr.  Bassano' s  work  requires  a  staff  of 
three  artists  to  be  constantly  engaged  on  the  work  of  retouching 
negatives.  The  ordinary  retouching  frames  are  used,  and  a 
sharply-pointed  pencil,  either  "Wolff's  or  Faber's.    But  a  B  or 


DR.  HUGGINS. 


83 


HB  won't  do  upon  a  gelatine  film.  A  four  H  pencil  was  being 
employed  by  one  artist,  and  on  our  enquiring  of  another  if  lie 
were  using  the  same,  be  replied,  "No,  I  am  employing  a  five  H 
point."  To  give  tooth  to  the  film,  a  little  turpentine  rubbed  on 
with  the  finger  is  found  to  be  most  efficacious.  The  quality  of 
the  gelatine  negative  was  exceptionally  fine,  the  film  as  smooth 
and  harmonious  as  that  of  the  best  wet  collodion  plate. 

Mr.  Bassano  reserves  his  Bond  Street  establishment  for 
photographs  taken  by  appointment,  while  a  second  gallery  in 
Piccadilly  takes  the  impromptu  work.  In  Piccadilly  there  is 
little  else  but  top  light  available,  but  since  the  pictures  taken 
there  have  made  Mr.  Bassano' s  reputation,  we  may  assume  that 
something  besides  light  is  necessary  for  successful  portraiture. 


BE.  HUGGINS  AT  UPPER  TTJLSE  HILL. 

41  TTette  are  my  star  photographs,"  said  Br.  Huggins.  A  small 
drawer  is  before  us  filled  with  neat  little  leather  boxes,  that 
might  be  jewel  cases,  only  that  their  contents  are  more  precious 
than  jewels.  For  truly  no  labourer  in  the  diamond  fields  ever 
worked  harder  than  Br.  Huggins  has  done  to  secure  these  tiny 
gems.  Here  is  a  tray  of  them !  Each  represents  a  glinting 
star  from  our  lustrous  firmament.  This  one  is  Sirius,  or  the  Bog 
Star;  this  is  Vega;  this,  one  of  the  glittering  constellation 
known  as  the  Great  Bear;  another  is  Arcturus;  yet  another 
Capella ;  and  this  last,  the  yellow  star  Aldebaran.  Were  they 
but  rubies  and  sapphires,  a  lucky  search  would  have  secured 
them  in  a  month  ;  as  it  is,  they  represent  the  labours  of  a  life- 
time. 

They  are  minute  photographic  negatives,  as  we  see  clearly 
enough  now  we  are  permitted  to  take  one  in  our  hands  and  ex- 
amine it  under  a  magnifier.  The  image  is  half  an  inch  long, 
and  about  an  eighth  of  an  inch  broad,  a  little  white  band  with 
zebra  stripes — or  more,  perhaps,  like  a  bit  of  bamboo  straw  with 
well-marked  joints.  The  stripes  are  not  all  of  the  same  thick- 
ness, nor  are  they  always  at  equal  distances,  and  it  is  to  this 
circumstance  particularly  that  our  host  calls  attention,  for  on 
the  presence  or  absence  of  these  lines  the  whole  teaching  of  Br. 


84 


STUDIOS  IN  LONDON. 


Huggins'  wonderful  discoveries  in  connection  "with  the  star 
world  depends. 

But  we  must  go  back  a  little  to  explain  Dr.  Huggins'  research 
clearly.  For  instance,  they  teach  us,  as  we  shall  presently  see, 
how  it  is  possible  to  classify  the  stars ;  how  some  are  very  much 
like  our  sun — which  is  simply  a  star,  and  nothing  else,  and  only 
appears  larger  because  it  is  not  so  many  millions  of  miles  off,  as 
the  rest  of  them — and  how  some  are  glowing  masses  of  matter 
only  just  beginning  to  burn,  while  other  have  been  alight  so 
long  that  they  are  nearly  burnt  out.  These  old,  worn-out  stars 
— or  suns,  if  you  like  to  call  them  so — will  in  all  probability 
soon  become  but  a  mass  of  cinder  or  pumice-stone,  such  as  our 
moon  now  is,  which,  as  everybody  knows,  gives  forth  no  light 
itself,  and  only  shines  when  it  reflects  back  the  sunlight  thrown 
upon  it. 

The  pictures  before  us  are  not  simply  photographs  of  the  stars, 
but  photographs  of  the  spectra  of  the  stars.  And,  here,  please, 
one  word  before  embarking  on  our  explanation.  Lest  the  reader 
take  fright  at  the  word  spectrum,  or  spectra,  we  want  to  say  at 
the  outset  that  we  are  not  going  to  use  any  scientific  terms 
whatever,  or  allude  to  any  abstruse  matters.  We  are  going  to 
give  as  unscientific  an  account  of  Dr.  Huggins'  investigation  as 
we  possibly  can ;  that  is  our  only  object,  and  we  shall  be  but 
too  pleased  if  we  err  on  the  side  of  puerility. 

We  say  Dr.  Huggins  photographs  the  spectrum  of  a  star,  and 
not  the  star  itself,  and  this  is  easily  explained.  Everybody  who 
has  entered  a  room  in  which  a  chandelier  with  glass  drops 
happens  to  be,  or  lustres  on  the  mantelpiece,  knows  very  well 
that  the  colours  of  the  rainbow  frequently  hover  about  them. 
The  reason  of  this,  too,  most  people  know.  A  ray  of  sunlight, 
or  daylight,  however  white  and  shining  it  appears  under  ordi- 
nary circumstances,  is  made  up  of  a  bundle  or  faggot  of  coloured 
rays,  and  the  coloured  rays  are  seen  whenever  the  faggot  gets 
dispersed.  Many  things  will  cause  the  dispersion  of  light,  and 
turn  a  white  ray  into  a  broad  coloured  band,  or  ribbon  of  red, 
yellow,  blue,  and  violet.  Out  of  doors  the  rain  often  does  it 
for  us,  and  then  we  get  the  rainbow ;  but  indoors  the  dispersion 
of  light  is  generally  due  to  the  triangular  or  prism-like  drops  of 
our  chandeliers  and  lustres.  "Whenever  you  put  a  prism  of  glass 
in  the  path  of  a  beam  of  sun-light,  you  get  this  dispersion  or 
separation  of  the  faggot ;  and  this  dispersion  is  called  the  spec- 


DR.  HUGGINS. 


85 


trum.  If  it  be  a  beam  of  sunlight  that  is  dispersed  into  colours, 
we  call  the  band  of  colours  the  spectrum  of  the  sun  or  solar 
spectrum ;  if  we  look  at  the  light  from  one  of  the  stars,  putting 
first  of  all  a  prism  in  the  way  between  our  eye  and  the  star  to 
disperse  the  ray,  then  the  colours  shown  we  term  the  spectrum 
of  a  star. 

"  But  what  amount  of  light  can  possibly  come  from  a  star  ?  " 
the  reader  will  exclaim.  "  Surely  the  twinkling  spots  we  see 
in  the  heavens  are  not  sufficient  for  dispersion,  and  for  the  for- 
mation of  a  coloured  rainbow  or  spectrum  ?"  We  answer,  not 
only  is  the  light  of  our  stars  sufficient  to  give  a  tiny  rainbow— 
by  making  it  go  through  a  prism — but  this  tiny  rainbow  or  star 
spectrum  can  be  photographed,  thanks  to  rapid  gelatine  plates, 
and  it  is  just  this  wonderful  feat  which  Dr.  Huggins  has 
accomplished. 

Of  course,  in  his  tiny  pictures,  we  see  no  colour ;  this  has  yet 
to  come.  But  we  see  something  that  is  more  important  even 
than  colour.  We  have  spoken  of  star  spectra,  and  of  the  spec- 
trum given  by  the  sun,  and  we  may  mention  that  most  bodies 
that  emit  rays  are  capable  of  furnishing  a  spectrum.  A  red  hot 
poker,  for  instance,  will  give  you  a  spectrum,  and  so  will  a  glow- 
ing coal.  But  if  you  want  to  see  the  colours  to  perfection,  as 
they  come  from  the  prism,  you  must  look  at  them  in  the  dark  ; 
just  as  in  camera  work  you  can  see  best  to  focus  when  extraneous 
light  is  cut  off.  Thus,  if  you  darken  the  room  in  which  your 
prism  is,  and  only  let  in  a  beam  of  sunshine  through  a  chink  in 
the  shutter,  your  colours,  or  spectrum,  or  rainbow,  whatever 
you  choose  to  call  it,  will  be  very  vivid.  You  see  the  white  ray 
coming  sharp  and  straight  from  the  shutter  to  the  prism,  and 
then  dispersed  into  a  spectrum.  The  more  narrow  your  chink 
or  slit,  the  clearer  will  be  your  spectrum,  and  when  you  have 
narrowed  the  slit  to  something  like  sio  of  an  inch,  you  will  find 
in  the  spectrum  something  more  than  a  row  of  mere  colours. 
You  will  see  a  lot  of  little  upright  lines,  which  you  have  not  seen 
before ;  and  it  is  these  lines,  particularly,  their  place  in  the 
spectrum,  their  number,  and  their  thickness,  which  is  of  impor- 
tance. They  are  a  language,  which  we  cannot  as  yet  read  dis- 
tinctly, but  which,  little  by  little,  we  are  beginning  to  under- 
stand. Already  these  lines  in  the  spectrum  have  told  us  much  of 
which  before  we  knew  nothing  ;  what  they  will  reveal  in  the 
future,  the  future  alone  can  tell. 


86 


STUDIOS  IN  LONDON. 


Dr.  Huggins,  then,  photographs  the  spectrum  of  a  star  ;  that 
is,  he  does  not  present  his  camera  directly  at  the  heavens  ;  "before 
the  light  of  the  star  is  allowed  to  shine  upon  his  sensitive  plate, 
it  is  compelled  to  pass  through  a  prism  to  he  dispersed,  and  it 
is  this  dispersed  light — this  band  of  colours — this  spectrum — of 
which  he  gets  an  image.  And  he  gets  not  only  an  image  of  the 
spectrum,  or  rainbow,  but  of  the  little  upright  lines  in  the 
spectrum,  too.  As  we  said  before,  his  negative  pictures  are  little 
white  bands  with  "  zebra  stripes,"  these  stripes,  more  or  less 
vivid,  being  no  other  than  the  lines  in  the  spectrum. 

Now,  what  do  these  lines  mean  ?  They  have  reference  to  cer- 
tain metals  or  substances.  Thus,  if  we  take  a  spoonful  of  common 
salt — or  chloride  of  sodium,  as  chemists  call  it — and  burn  it  in  a 
flame,  and  then  examine  that  flame,  we  shall  find  in  the  spectrum 
that  it  casts  an  upright  line  of  a  vivid  yellow.  This  line  appears 
in  the  red  part  of  the  rainbow,  or  spectrum,  and  whenever 
sodium  is  present  in  a  flame,  no  matter  how  minute  the  quantity, 
this  line  always  makes  its  appearance,  and  always  in  precisely 
the  same  position  of  the  spectrum.  We  can  only  argue  one  thing 
from  this ;  that  there  is  sodium  piesent  whenever  we  see  the 
line.  Hence  it  is  called  the  sodium  line.  Mr.  William  Crookes, 
the  first  editor  of  the  Photogeaphic  Hews,  one  day  burning 
some  sulphur,  and  looking  at  the  spectrum  of  the  flame,  dis- 
covered, to  his  surprise,  a  line  he  had  never  seen  before.  It  was 
a  single  green  line,  and  hence  he  knew  there  must  be  something 
present  in  the  flame  of  which  chemists  at  that  moment  knew 
nothing.  He  proceeded  with  his  investigation,  and,  in  a  few 
days,  was  able  to  announce  to  the  world  that  he  had  discovered, 
through  the  medium  of  the  spectrum,  an  entirely  new  metal,  to 
which  he  gave  the  name  of  Thallium. 

Since,  then,  the  lines  tell  us  of  the  presence  of  certain  bodies 
we  have  in  the  spectrum,  we  have  here  a  very  easy  and  simple 
way  of  finding  out  what  is  in  a  substance  that  is  burning.  We 
can  tell  if  it  contain  copper,  iron,  sodium,  &c.  The  lines  pro- 
claim the  fact  at  once.  It  is,  in  a  word,  a  most  efficient  and 
quick  method  of  analysis,  this  method  of  spectrum  analysis.  A 
ray  of  sunshine,  falling  on  a  prism,  and  dispersing,  exhibits  lines 
that  leave  little  doubt  that  in  the  glowing  mass  we  call  the  sun 
there  is  sodium,  iron,  hydrogen  in  vast  quantities,  &c.  Dr. 
Huggins,  in  like  manner,  has  examined  the  light  from  various 
stars,  and,  from  the  lines  he  has  obtained,  he  tells  us  how,  in  the 


DE.  HUGGTNS. 


87 


bright  star  Sirius,  there  is  sodiuni,  magnesium,  hydrogen,  and 
iron,  and  in  the  yellow  star  Aldebaran  these  are  to  be  found  in 
conjunction  with  bismuth,  antimony,  and  mercury. 

Now  we  come  to  the  important  task  which  photography  has 
fulfilled  in  connection  with  this  wonderful  investigation.  We 
have  hitherto  spoken  of  lines  visible  to  the  eye.  But,  at  one  edge 
of  the  rainbow,  or  spectrum,  in  the  violet  and  lavender  regions, 
there  are  lines  which  are  invisible  to  the  eye,  but  which  can, 
nevertheless,  be  photographed.  Dr.  Huggins,  indeed,  does  not 
care  to  photograph  more  than  half  the  spectrum ;  the  red  and 
yellow  parts  he  can  best  examine  with  the  eye,  and  therefore 
he  confines  himself  to  photographing  the  lines  in  the  violet  and 
lavender  regions,  and  in  the  region  beyond,  which,  curiously 
enough,  we  cannot  see  at  all.  And  it  is  precisely  these  regions 
that  appear  to  be  most  interesting  so  far  as  the  stars  are  con- 
cerned. His  little  photographs  show  at  once  that  there  are,  at 
any  rate,  three  distinct  classes  of  stars.  There  are  those,  for 
instance,  which  give  twelve  distinct  lines,  or  zebra  stripes. 
These  lines  are  evidently  due  to  hydrogen,  and  denote  vast  masses 
of  this  inflammable  gas  to  be  present  in  the  stars.  All  white 
stars  give  these  twelve  lines,  such  as  Sirius,  Vega,  the  Great 
Bear,  &c,  and  for  this  reason  it  is  presumed  that  they  are  youth- 
ful stars.  Next,  there  are  stars  that  give  lines,  or  spectra,  so 
much  like  the  lines  given  by  our  own  sun,  that  they  are  doubtless 
of  the  same  age,  and  have  been  burning  about  as  long  ;  Capella 
is  one  of  these,  which,  among  other  things,  do  not  show  the  hydro- 
gen lines  so  perfectly.  Finally,  we  have  old  suns,  like  Arcturus, 
and  the  yellow  star  Aldebaran,  which  seem  to  be  rapidly  burn- 
ing themselves  out ;  the  spectrum  here  is  very  different,  the 
twelve  hydrogen  lines,  as  an  instance,  being  reduced  to  six. 

Dr.  Huggins  invites  us  into  his  observatory,  and  we  climb  the 
stairs  in  his  company.  We  make  our  way  through  a  well- 
appointed  laboratory,  then  ascend  into  an  apparatus  room,  full  of 
magnificent  electrical  paraphernalia  and  optical  appliances,  and 
finally,  pushing  opon  a  trap  above  our  heads,  reach  the  "  star 
chamber.' '  It  is  not  very  high  up,  after  all,  where  Dr.  Huggins 
holds  communion  with  the  stars.  Yet  we  may  here  see  farther 
into  the  heavens  than  from  the  loftiest  spire  upon  earth. 

In  the  centre  is  a  vast  telescope,  some  twelve  feet  long  and 
twenty  inches  in  diameter ;  it  is  inclined  upwards  through  an 
orifice  in  the  roof,  the  roof  itself  being  dome-shaped,  and  capable 


88 


STUDIOS  IN  LONDON. 


of  revolution,  so  that  the  whole  hemisphere  of  the  heavens  may 
in  turn  he  examined. 

It  is  here  that  the  work  to  which  we  have  alluded  has  "been 
performed — work  which  may  seem  simple  enough  to  the  reader, 
but  which  has  involved  the  exercise  of  patience  and  perseverance 
indescribable.  Who  shall  tell  of  the  countless  watchings,  the 
indomitable  fortitude,  the  persistent  activity  by  which  the  triumph 
has  been  gained  ?  Fortunately,  our  worthy  host  has  a  worthy 
assistant  in  the  person  of  Mrs.  Huggins,  to  whom  is  due,  in  no 
small  measure,  the  success  of  his  labours.  Our  readers  know  full 
well  how  feeble  is  the  light  of  a  star ;  and  when  they  bear  in 
mind  that  only  as  much  of  that  light  as  can  come  through  a  slit 
3J0  of  an  inch  is  permitted  to  act  on  the  photographic  plate,  this 
light  being  not  in  the  form  of  a  pin's  point,  but  spread  over  half 
an  inch  surface,  they  will  understand  that  a  long  exposure  is 
necessary.  Sometimes,  indeed,  two  hours  are  required  to  impress 
the  image,  and  during  the  whole  of  this  weary  interval  it  is  the 
duty  of  the  doctor's  chief  assistant  to  watch  that  star,  and  see 
that  it  remains  in  its  proper  place  upon  the  slit  of  the  instrument. 
The  stars,  as  we  all  know,  are  constantly  moving — or,  rather, 
the  earth  is,  which  is  the  same  thing — and  the  consequence  is 
that  the  big  telescope,  in  which  the  camera  and  spectrum 
apparatus  are  placed,  has  to  be  kept  moving,  too,  by  clockwork, 
to  keep  up  with  the  star.  But,  delicately-regulated  as  the  clock- 
work is,  it  cannot  always  be  depended  upon  to  move  the  telescope 
exactly  at  the  same  rate  as  the  earth.  For  this  reason  it  is  that 
Mrs.  Huggins  duly  watches  to  see  it  do  its  duty,  the  lady  having 
appliances  at  hand  whereby  she  can  amend  the  speed,  and  catch 
the  star  again  by  going  a  little  faster,  or  slower,  as  the  case 
may  be. 

Mrs.  Huggins  is  also  an  accomplished  photographer,  and  is 
conversant  with  all  the  advances  recently  made.  Indeed,  it  is 
only,  as  one  can  well  understand,  with  the  aid  of  very  sensitive 
gelatine  plates  that  some  of  the  stars — the  red  ones  and  the 
yellow  ones  particularly — can  be  made  to  tell  their  interesting 
story.  "  It  is  all  very  well  to  speak  lightly  of  doubling 
the  exposure/ '  said  Dr.  Huggins,  "when  it  is  a  question  of 
seconds  only;  but,  in  my  case,  it  is  a  matter  of  hours."  Dr. 
Huggins,  in  his  work,  soon  gets  to  know  of  a  plate's  sensitive- 
ness ;  making  long  exposures  during  the  weary  watches  of  the 
night  is  a  crucial  test  for  the  sensitive  film. 


BR.  HUGGINS. 


8 


And  now,  if  the  reader  will  but  listen  another  moment,  we 
can,  in  a  very  few  words,  explain  how  Dr.  Huggins  does  his 
photographic  work.  "We  have  said  that  the  little  camera  and 
spectrum  apparatus  are  inside  the  telescope,  and  we  have 
explained  how  it  is  necessary,  in  order  to  get  a  proper  image 
upon  the  sensitive  plate,  that  the  light  from  the  star  should  shine 
into  the  apparatus  through  a  tiny  slit  not  more  than  350  of  an  inch 
broad.  The  great  thing  to  be  accomplished,  therefore,  is  to  get 
the  little  luminary  to  settle  exactly  upon  this  slit,  and  to  keep  it 
there  during  the  long  time  necessary  for  the  exposure.  It 
is  done  in  this  way.  The  telescope,  which  is  nothing  more 
than  a  hollow  tube,  is  directed  towards  the  heavens,  and  in  such 
a  way  that  the  star  shines  down  the  tube.  There  are  many  stars, 
of  course,  but  Dr.  Huggins  has  only  to  do  with  one  at  a  time. 
At  the  bottom  of  the  tube  or  telescope  is  a  mirror,  and  the  con- 
sequence is  that  the  star,  looking  down  the  tube,  shines  upon  the 
mirror.  The  mirror,  then,  by  careful  handling,  is  made  to 
reflect  the  particular  star  upon  the  slit  of  the  camera  apparatus, 
and  very  nicely  indeed  has  the  mirror  to  be  adjusted  to  do  this. 
But  this  difficult  task  it  fulfils,  nevertheless,  under  the  skilful 
hands  of  Mrs.  Huggins,  and  to  that  lady,  as  we  have  said,  falls 
the  onerous  duty  of  continually  watching  to  see  that  the  tiny 
spot  of  light  keeps  hovering  ove~  the  slit.  Of  course  the  big 
telescope  is  moving  all  the  while,  and  the  camera  inside  as  well, 
by  means  of  the  clockwork,  to  which  we  have;  referred,  in  order 
to  keep  up  with  the  moving  star ;  but  let  the  mechanism  be  ever 
so  well-regulated,  it  requires  unremitting  attention,  so  that,  as 
we  have  said,  the  eye  has  continually  to  watch  the  position  of 
the  star  upon  the  apparatus  the  whole  weary  time  of  the 
exposure. 

It  is  only  on  certain  nights  in  the  year  that  star  photography- 
is  at  all  possible.  You  must  be  for  ever  on  the  alert,  watching 
your  opportunity.  The  night  must  not  only  be  clear,  but  steady. 
After  rain  the  stars  are  sometimes  very  bright,  and  they  do  not 
twinkle,  a  sure  sign  of  atmospherical  disturbance.  Here  is  the 
tiny  camera  fixed  at  the  end  of  the  spectrum  apparatus,  and  here 
the  little  dark  slide  that  receives  the  plate ;  it  is  half-an-inch 
broad  and  two  inches  long — surely,  the  smallest  dark  slide  in  the 
world !  Autumn  and  spring  Dr.  Huggins  perf ers  for  his  photo- 
graphic work,  and,  if  possible,  he  brings  his  labours  to  an  end 
at  midnight.    In  wintry  weather  he  can  commence  work  about 


90 


STUDIOS  IN  LONDON. 


six  ;  but  in  the  summer  time  he  has  sometimes  to  wait  till  ten 
before  the  stars  are  bright  enough  for  his  purpose. 

Dr.  Huggins,  in  describing  his  apparatus,  says :  It 'was  neces- 
sary to  devise  an  apparatus  which  should  produce  on  the  plate  a 
well-defined  spectrum,  full  of  fine  details,  with  the  least  possible 
loss  of  light.  As  glass  is  but  imperfectly  transparent  to  light 
beyond  the  visible  spectrum,  it  was  necessary  to  avoid  the  use  of 
this  substance.  The  telescope  was  a  reflector  of  the  Cassegrain 
form,  having  a  metallic  speculum  eighteen  inches  diameter.  The 
form  of  spectrum  apparatus  is  represented  in  the  accompanying, 
wood-cut : — 


a  is  a  base-plate  with  bevelled  eJges,  which  slides  witlfa  suit- 


DR.  HUGGINS. 


91 


ably  grooved  plate  fixed  at  the  end  of  a  telescope,  b  is  the  slitr 
having  a  width  of  350th  part  of  an  inch  ;  c  is  the  prism  of  Iceland 
spar,  a  substance  very  transparent  to  the  ultra-violet  rays,  and 
possessing  a  power  of  dispersion  equal  to  moderately  dense  flint. 
The  lenses,  d  and  e,  are  of  quartz.  The  plate  is  placed  at  /, 
and  inclined  so  as  to  bring  as  large  a  part  as  possible  of  the 
spectrum  to  focus  upon  it.  The  photographic  spectra  taken  with 
this  apparatus  measure  half  an  inch  from  g  to  d,  and  the  defini- 
tion is  so  excellent,  that  seven  lines  may  be  seen  between  H  and 
K  in  the  solar  spectrum. 

The  difficulty  arising  from  the  star's  apparent  motion 
required  a  special  arrangement  to  enable  the  star's  image  to  be 
brought  upon  and  kept  accurately  within  the  very  narrow  chink, 
the  3J0th  of  an  inch  wide,  through  which  the  light  must  pass. 

In  addition  to  a  massive  equatorial  mounting,  and  a  driving 
clock  of  great  excellence,  due  to  the  inventive  skill  of  Mr.  Howard 
Grubb,  the  arrangement  shown  in  fig.  2  was  adopted. 

Fig.  2  shows  parts  of  the  telescope.    The  spectrum  apparatus 


a  is  fixed  so  that  the  slit  may  be  exactly  at  the  principal  focus  of" 
the  mirror  b.    Over  the  slit  is  placed  a  polished  silver  plate,  c, 
with  an  opening  corresponding  to  the  slit.    By  means  of  a  small 
mirror,  d,  artificial  yellow  light  is  thrown  upon  this  plate. 


Fig.  2. 


92 


STUDIOS  IN  LONDON. 


Behind  the  hole  in  the  centre  of  the  speculum  is  placed  a  small 
Galilean  telescope  or  opera-glass.  If  the  telescope  is  directed  to 
a  star,  and  the  observer  looks  into  this  small  telescope,  he  sees 
the  silver  plate  and  the  slit  within  the  opening  by  means  of  the 
artificial  light.  He  sees  also  upon  the  plate  the  image  of  the 
star  as  a  bright  point.  It  is  then  within  his  power  to  bring  this 
bright  point  exactly  upon  any  desired  part  of  the  slit,  and  by 
continuously  watching  it  during  the  whole  time  of  photographic 
exposure,  which  may  be  an  hour  or  more,  to  correct  instantly,  by 
hand,  any  small  irregularities  of  the  motion  of  the  telescope. 

It  was  necessary,  further,  to  have  the  means  of  being  able, 
from  comparison  with  a  known  spectrum,  to  determine  the  wave 
lengths  of  the  lines  in  the  spectra  of  the  stars.  For  this  purpose 
the  slit  was  provided  with  two  shutters,  g  and  li  (fig.  1  J.  During 
the  exposure  the  shutter  g  only  was  open ;  when  the  photograph 
had  buen  taken  this  shutter  was  closed,  and  the  second  shutter,  h, 
withdrawn  :  through  this  half  of  the  slit  a  second  spectrum  was 
taken  upon  the  same  plate.  This  might  be  the  sun's  light  re- 
flected from  the  moon,  or  the  spectrum  of  a  known  star,  or  a 
terrestrial  spectrum,  or  direct  sunlight  on  the  following  day. 


MESSRS.  WINDOW  &  GROVE  AT  BAKER  STREET. 

The  establishment  of  Messrs.  Window  and  Grove  is,  in  some 
sort,  historical.  If  not  the  first,  the  late  Mr.  Window  was  one  of 
the  first  to  settle  in  that  fashionable  quarter,  constituting  the 
loadstone  towards  which  so  many  have  since  gravitated.  Why 
photography  and  Baker  Street  should  have  become  synonymous 
terms  is  not  very  clear  ;  but  we  suppose  fashionable  loungers 
are  naturally  attracted  towards  Baker  Street  Bazaar,  and  fashion- 
able photographers  have  come  after  them.  But  the  Window 
and  Grove  establishment  has  other  claims  upon  history.  The 
cabinet  portrait  was  born  here.  Mr.  Window  was  the  first  to 
suggest  and  press  upon  the  attention  of  the  public  this  familiar 
style,  which  has  not  only  become  popular  in  this  country,  but  as 
the  "  carte  album"  is  in  favour  throughout  the  Continent  and 
in  America.  We  ourselves  remember  seeing  years  ago,  in  one 
of  the  first  studios  of  Vienna,  half  a-dozen  cabinets  from  the  Baker 


MESSRS.  WINDOW  AND  GROVE. 


93 


Street  studio,  which  had  been  sent  for  to  serve  as  models,  while 
woodcuts  appeared  in  the  foreign  journals  of  Mr.  Window's  work, 
to  show  size,  proportion,  and  style  of  the  new  portrait.  Again, 
the  cameo  portrait — four  heads  taken  from  different  points,  and 
embossed  upon  a  card,  in  the  form  of  a  diamond — was  due  to  Mr. 
Window,  a  format  that  enjoyed  a  good  deal  of  popularity,  and 
deserved  yet  more ;  while  it  was  here,  in  this  studio  at  Baker 
Street,  that  the  first  essay  at  printing  portraits  in  carbon  was 
made  by  a  private  firm. 

It  is  not  surprising  that  an  establishment  which  has  had  so 
much  to  do  with  the  cabinet  portrait  should  still  look  with 
favour  upon  a  child  of  its  own.  Mr.  Grove,  who  is  good  enough 
to  receive  us,  and  to  act  as  guide  through  the  establishment,  tells 
us  the  demand  made  for  cabinet  pictures  is  still  so  brisk,  that  no 
endeavour  has  been  made  to  introduce  the  panel  picture,  which, 
in  many  studios,  has  long  been  fashionable.  A  vignetted  bust  is 
the  favourite  portrait,  the  delicate  tinted  ground  being  secured, 
as  we  presently  see,  by  means  of  fawn-coloured  cloth,  stretched 
without  a  fold  to  serve  as  background.  Carbon  upon  opal — the 
red  chalk  carbon — is  also  a  speciality  of  Messrs.  Window  and 
Grove,  the  pictures  measuring  from  fifteen  to  twenty  inches, 
being  produced  from  enlargements  of  the  original  cabinet  nega- 
tive. In  a  word,  the  establishment  is  working,  and  to  some 
purpose,  too,  upon  the  lines  it  adopted  a  dozen  years  ago. 

The  light  is  not  very  good,  for  it  is  a  dull  February  day,  and 
Mr.  Grove,  who  has  been  using  gelatine  plates  of  two  of  the  best 
known  firms,  tells  us  that  cartes  have  required  an  exposure  or 
from  eight  to  ten  seconds,  and  cabinets  from  sixteen  to  twenty. 
It  is  Mr.  Grove's  practice  to  take  two  views  of  each  pose,  giving 
the  one,  two,  or  three  seconds'  more  exposure  than  the  other,  and, 
in  this  way,  he  can  rely  pretty  well  upon  his  gelatine  films. 

"  You  are  using,  then,  nothing  but  gelatine  ?"  we  say. 
"  To-day  I  am,  and  throughout  the  winter  I  have  done  so ;  but  I 
shall  get  back  to  wet  collodion  when  I  can."  Mr.  Grove  fully 
appreciates  the  value  of  gelatine  ;  it  enables  him  to  take  pictures 
and  guineas  at  the  same  time,  which  otherwise  would  be  lost  to 
him  ;  but  were  both  mediums  equally  open  to  employment,  he 
would  unhesitatingly  prefer  a  wet  plate.  It  might  be  difficult, 
possibly,  to  specify  the  particular  point  of  advantage — whether 
it  lies  in  being  able  better  to  control  the  development,  or  in 
securing  deeper  and  more  harmonious  effects ;  but  that  the  wet 


94 


STUDIOS  IN  LONDON. 


plate,  when  there  is  light  enough,  has  an  undoubted  advantage — 
for  the  present,  at  any  rate — Mr.  Grove  fully  believes.  It  is  in 
the  print,  according  to  Mr.  Grove,  rather  than  in  the  negative, 
that  the  weakness  of  a  gelatine  film  is  to  be  seen, and  a  practised 
eye  should  have  no  difficulty  in  pronouncing  any  print  the  result 
of  a  wet  or  dry  plate. 

Mr.  Grove  invariably  employs  the  oxalate  developer,  for  one 
reason  because  many  of  his  negatives  have  afterwards  to  be  en- 
larged for  carbon  work,  and  it  is  impossible  to  get  a  good  enlarge- 
ment with  any  negative  showing  a  trace  of  pyrogallic  staining. 
We  are  invited  into  the  enlarging-room.  It  is  of  the  simplest 
kind :  an  empty  room  lighted  by  a  single  window,  looking  on  to 
a  small  yard.  By  craning  your  neck  out  of  window,  you  might 
get  a  glimpse  of  the  sky  above,  but  not  otherwise.  Yet  Mr. 
Grove  makes  good  use  of  the  parallel  rays  that  fall  into  this  well 
of  aplace.  The  window  can  be  shuttered  at  a  moment's  notice, 
with  the  exception  of  a  single  pane,  in  which  a  bellows  camera 
has  been  fitted.    The  transparency  is  fitted  in  the  camera,  and 


the  light  reflected  upon  it  by  a  large  sheet  of  opal  glass,  twenty- 
four  inches  square,  that  is  outside  the  window  fixed  to  a  board 
that  slopes  at  an  angle  of  45°  with  the  casement.  The  enlarged 
image  thus  thrown  into  the  room  is  received  upon  an  upright  screen, 
which  either  bears  a  focussing  glass  or  carrier  with  plate.  The 
focussing  or  enlarging  is  easily  done  by  approaching  or  receding 
the  screen.  This  latter  is  a  sturdy  frame-work  of  wood,  standing 
five  or  six  feet  high,  the  bottom  being  fixed  in  a  four-wheel  cart 
or  trolly,  which  moves  on  a  tramway  laid  across  the  room.  The 


MESSES.  WINDOW  AND  GROVE. 


95 


wheels  are  small,  and  as  the  whole  structure  is  rather  heavy,  it 
-only  moves  slowly  when  pushed,  and  does  not,  indeed,  move  at 
all  unless  considerable  force  is  brought  upon  it.  So  that  both 
large  and  small  pictures  may  be  taken,  there  is  an  arrangement 
in  the  frame-work  for  lowering  or  heightening  the  focussing 
screen  or  dark  slide,  the  latter  being  kept  in  position  by  a  simple 
wood  clamp.  The  whole  frame-work  and  trolly  together  is  so 
simple  that  any  carpenter  could  put  it  together,  its  solidity  being 
one  of  its  most  valuable  qualities. 

The  studio  is  one  of  the  smallest  we  have  seen  in  a  first-class 
studio,  and  you  wonder  at  first  where  the  dark-room  and  labora- 
tory can  be.  There  is  but  one  camera  visible,  with  a  hood  ex- 
tending some  four  feet  in  front  of  the  lens  ;  but  although  room  is 
limited,  there  is  not  the  least  sign  of  crowding.  Mr.  Grove 
believes  in  simplicity  in  a  studio,  and  it  is  well  he  does  so,  other- 
wise a  glass  room  twice  the  size  would  not  have  sufficed.  While 
there  is  but  one  camera,  there  is  a  whole  battery  of  lenses,  here, 
under  the  table,  of  all  sorts  and  sizes  to  fit  it.  Our  host  makes 
use  of  a  universal  adaptor — or  universal  front,  it  might  be  called 
(see  fig.) ;  that  is  to  say,  instead  of  having  half-a-dozen  spare 
flanges  to  each  lens,  he  has  each  lens  screwed  into  a  front,  and 
the  whole  series  of  fronts  (all  of  the  same  size)  lift  in  and  out  of 
the  one  camera. 

Another  simple  arrangement  is  the  method  of  supplying  the 
plates  from  the  dark  room.  This  is  underneath  the  studio,  so  that 
there  is  no  smell  of  collodion  in  summer  time,  and  the  heat  is 
never  oppressive.  A  little  shaft  runs  down  into  the  apartment 
beneath,  and  the  carrier  and  plates  are  in  this  wise  conveyed  to 
the  glass  room.  There  is  a  speaking-tube,  moreover,  between 
the  apartments ;  but  signals  are  usually  conveyed  by  a  whistle. 
One  whistle  from  below  means  that  the  plate  has  been  developed 
and  is  all  right,  and  that  the  visitor  may  be  bowed  out.  In 
these  circumstances,  even  gelatine  plates  may  be  developed  before 
the  sitter  departs,  for  there  is  no  delay  in  immersing  the  plate  in 
the  oxalate  bath.  As  only  one  sized  plate  is  used  in  the 
establishment,  whether  for  carte  or  cabinet  pictures,  simplicity 
here  comes  in  again  to  aid  in  the  work. 

Mr.  Grove's  highest  class  of  work  is  the  red  carbon  portrait 
upon  porcelain.  We  do  not  know  if  our  host  represents  the  only 
firm  of  portraitists  in  London  who  are  carbon  printers,  but  we 
rather  think  so.   Here  is  the  developing  room,  and  here  the 


96 


STUDIOS  IN  LONDON. 


three  huge  tanks,  some  three  feet  square,  required  for  the  pro- 
cess. The  first  is  for  warm  water,  the  second  for  cold,  the  third 
is  the  alum  bath.  The  carbon  printing  is  conducted  under  Mr. 
Grove's  personal  supervision,  for  it  is,  as  everybody  knows, 
touchy  work  at  the  best.  It  is  not  unusual  to  develop  a  score 
of  pictures  in  order  to  obtain  one  that  will  please.  "  You  may 
secure  a  very  good  impression  on  the  second  or  third  trial,' '  said 
Mr.  Grove,  "  but  then  you  always  try  again  to  see  if  you  cannot 
get  a  better  one  still."  "When  you  have  a  good  carbon  print,  it 
is  worth  all  the  trouble,  our  host  thinks,  and  he  is  quite  satisfied, 
apparently,  with  the  results  of  his  tedious  labour.  Certainly  it 
is  not  everybody  who  would  work  so  hard  for  success. 

Carbon  portraits  upon  paper  are  more  difficult  to  obtain  perfect 
than  upon  opal ;  the  pot-metal  helps  out  a  good  many  defects, 
and  the  film  dries  upon  the  surface  in  a  more  satisfactory  manner.. 
It  is  M*\  Grove's  opinion  that  carbon  pictures — at  any  rate,  for 
large  portraits — must  become  popular,  since  the  public  are- 
gradually  getting  to  know  of  their  permanence,  and  will  in  the 
future  be  satisfied  with  nothing  else.  But  it  is  very  plain — and 
Mr.  Grove  speaks  as  a  carbon  printer  of  many  years'  standing — 
that  indomitable  perseverance  and  inexhaustible  patience  are 
indispensable  in  the  production  of  high-class  carbon  pictures. 


THE  WOODBURY  PERMANENT  PRINTING  COMPANY  AT 
KENT  GARDENS,  EALING. 

In  a  remote  corner  of  Ealing,  where  the  suburban  villas  come 
to  an  end,  and  the  madowland  slopes  away  to  the  green  hills 
about  Harrow  and  Pinner,  are  to  be  found  the  works  of  the 
Woodbury  Permanent  Printing  Company.  The  Company  has 
evidently  a  notion  of  taking  care  of  itself,  for  at  Brompton,  we 
remember,  where  it  was  last  located,  the  neighbourhood  was  an 
exceedingly  agreeable  one,  and  there  are  certainly  few  work- 
ing establishments  in  and  about  London  which  can  boast  so  fine 
a  site  as  Kent  Gardens,  Ealing.  The  building  is  nothing  less 
than  one  of  the  fine  villas  that  are  here  to  be  seen  in  goodly 
number,  or  rather,  we  believe,  an  hotel,  it  is  so  spacious ;  the 
rooms  are  light,  airy,  and  lofty,  and  the  grounds  amply  suffice 
for  the  outhouses — printing  sheds,  studios,  developing  rooms,  &c. 


THE  WOODBURY  COMPANY 


97 


— which,  are  necessary  to  the  carrying  on  of  the  multifarious 
duties  with  which  the  Company  occupies  itself. 

The  Company  produces  its  own  carbon  tissue,  for,  as  our 
readers  are  aware,  it  has  acquired  for  some  years  past  a  high 
reputation  for  enlargements  printed  in  permanent  pigments,  and 
possesses  all  the  necessary  facilities  for  printing  and  developing ; 
but,  as  a  matter  of  course,  it  is  the  photo-relief  or  "Woodbury 
process  that  constitutes  the  chief  feature  of  the  Kent  Gardens 
establishment.  The  Company  has  it  all  its  own  way  when  it 
comes  to  a  question  of  rapid  printing  from  portrait  negatives, 
and,  what  between  electioneering  orders  and  orders  connected 
with  Eoyal  marriages,  there  is  plenty  to  do.  Election  agents 
are  very  much  alive  to  the  publicity  which  photography  is 
capable  of  giving  to  the  features  of  the  respective  candidates, 
and  orders  are  sometimes  given  for  as  many  portraits  of  a  would- 
be  member  as  there  are  voters  on  the  election  roll.  Again,  the 
daughter  of  King  Eumpeltiltskin  is  a  favourite  just  now,  the 
Princess  Eadoura,  for  she  is  shortly  to  be  married,  and  Continen- 
tal dealers  are  clamouring  for  her  portrait.  Comes  an  agent 
across  the  seas  with  a  couple  of  negatives  of  the  fair  Princess ; 
he  will  not  leave  them — they  are  too  precious — but  waits  un- 
comfortably for  a  few  hours  at  Ealing,  while  the  necessary  gela- 
tine moulds  are  made  for  printing  off  the  pictures  mechanically. 
Then  he  travels  back  again  post-haste  to  continue  solar  printing, 
which  has  been  momentarily  interrupted,  leaving  behind  him 
instructions  to  despatch  50,000  copies  of  the  fair  Princess  as 
soon  as  Ealing  has  stamped  them  off. 

Our  readers  are  well  acquainted  with  the  "Woodbury  process, 
we  know,  but  we  shall  nevertheless  take  the  liberty  of  briefly 
describing  it  once  more  as  it  stands  in  its  present  state  of  perfec- 
tion. The  first  room  is  where  the  sensitive  film  is  kept.  It  is 
in  thin  transparent  sheets,  and  consists  of  gelatine  with  a  backing 
of  collodion  treated  with  bichromate  solution ;  it  very  much 
resembles  the  gelatine  employed  for  cracker  bonbons,  only  it  is 
tougher  and  a  little  stouter.  After  sensitizing,  it  is  put  into  a 
chloride  of  calcium  box  to  dry,  the  operation  being  there  very 
steadily  and  thoroughly  carried  out.  The  sensitive  gelatine  film 
is  put  under  a  negative  in  an  ordinary  printing-frame,  and  printed 
in  the  sun.  They  used,  at  Erompton,  to  put  the  printing-frames- 
at  the  bottom  of  a  box,  to  ensure  the  rays  coming  straight  down 
upon  the  film  ;  but  this  they  find  is  not  necessary  if  the  frames 


98 


STUDIOS  IN  LONDON. 


are  made  to  face  in  the  direction  of  the  sun.  But  direct  rays 
are  indispensable  to  the  production  of  a  good  photo-relief.  The 
gelatine  film,  by  printing  under  a  negative,  becomes  insoluble  in 
parts  (where  the  light  has  got  at  it),  and  the  consequence  is,  that 
when  immersed  in  warm  water,  only  a  portion  of  the  film  washes 
away,  leaving  an  image  of  the  negative  in  relief.  The  washing 
takes  place  very  gradually ,  the  film  being  placed  on  end,  and  the 
water  passing  through.  The  shadows  in  the  negative  being 
represented  by  transparent  patches  of  glass,  the  light  has  worked 
through  here,  and  the  result  is  that  the  gelatine  film  is,  after  wash- 
ing, all  over  prominences,  these  prominences  being  the  shadows  ; 
and  they  are  more  or  less  in  relief  according  as  the  shadows  were 
deep  or  otherwise,  or  according,  as  we  have  said  before,  as  the  glass 
negative  was  more  or  less  transparent.  These  gelatine  impres- 
sions are  permitted  to  dry  upon  patent  plate  glass  so  that  they 
may  be  perfectly  flat,  and  are  further  toughened  with  alum. 
Stripped  from  the  glass  when  dry,  we  have  a  perfect  mould,  in 
which  the  shadows  are  represented  by  prominences,  and  the  lights 
by  hollows. 

Now  comes  the  production  of  the  metal  plate,  which  is  taken 
from  this  gelatine  mould.  There  are  two  hydraulic  presses  in 
this  room  for  pressing  the  gelatine  mould  against  a  sheet  of  lead ; 
one  of  these  presses  is  capable  of  exerting  a  pressure  of  150  tons, 
and  the  other,  which  is  employed  for  pictures  up  to  14  inches  by 
10,  is  equal  to  giving  a  squeeze  of  500  tons.  It  is  the  necessity 
for  having  the  presses  which  evidently  stands  in  the  way  of 
Woodburytype  becoming  vulgarised ;  that  is  to  say,  photo-relief 
printing  is  of  itself  such  an  elaborate  industry,  and  requires  such 
expensive  apparatus,  and  withal  the  employment  of  so  many 
skilled  hands  in  one  department  and  another,  that  unless  a 
photographer  sees  his  way  clear  to  issue  hundreds  of  thousands 
of  prints,  it  would  never  be  worth  his  while  to  take  up  with  the 
hydraulic  process,  although,  it  is  true,  Mr.  Woodbury's  new 
Stannotype  process  bids  fair  to  bring  photo-relief  printing  within 
the  means  of  the  every-day  portraitist. 

Pure  lead  is  employed  for  securing  the  .counter-mould  of  the 
gelatine  film,  the  lead  being  rolled  into  plates.  A  steel  plate 
serves  to  rest  the  gelatine  mould  upon,  and  this  steel  plate  forms, 
as  it  were,  the  bottom  of  a  tray,  the  sides  of  the  tray  being 
sharp  knife  edges.  The  reason  of  this  tray-like  formation  is 
soon  evident.    The  gelatine  mould,  as  we  say,  is  put  upon  the 


THE  WOODBURY  COMPANY. 


99 


steel  bottom  of  the  tray,  and  then  a  sheet  of  lead,  larger  than 
the  tray,  is  put  upon  it.  "When  subjected  to  pressure  in  this 
way,  the  knife  edges  cut  the  lead,  and  the  latter  thus  accurately 
and  entirely  fills  up  the  tray.  The  gelatine  film  cannot  escape 
the  pressure,  because  of  the  steel  plate  below,  and  the  con- 
sequence is  that  the  lead  is  pressed  into  every  detail  of  the 
gelatine,  and  these  details  cannot  spread,  because  the  tray  is 
completely  full  of  metal.  The  consequence  is,  that  the  com- 
paratively frail  gelatine  impresses  the  metal  plate  with  its  like- 
ness. The  pressure  is  so  evenly  and  skilfully  managed,  that 
they  say  a  fern  leaf  can  be  put  in  the  tray  and  pressed ;  and  the 
fern  leaf,  soft  and  yielding  as  one  might  suppose,  is  still  capable 
under  the  circumstances  of  impressing  its  form  on  the  metal. 

"We  ha\e  in  the  lead  plate  an  engraving  in  which  the  shadows 
are  now  represented  as  deep  hollows,  and  the  high-lights  by 
prominences ;  indeed,  the  deeper  the  shadow  in  the  original 
photograph,  the  deeper  are  the  cavities.  We  now  proceed  to 
another  room  to  see  the  process  of  printing  from  these  metal 
plates.  It  is  a  large  apartment  with  eight  circular  tables. 
There  is  a  printer  at  each  table ;  the  table  revolves  on  a  pivot,  so 
that  he  can  bring  under  his  hand,  one  after  another,  a  series  of 
printing  presses,  of  which  there  are  seven  to  each  table,  fixed 
round  the  margin.  The  process  of  printing  consists  in  the  fact 
that  you  employ  a  dark  transparent  ink,  and  the  thicker  the 
'  layer  of  this  ink  upon  paper,  the  blacker  it  appears.  The  printer 
opens  one  of  the  presses,  and  you  see,  face  upwards,  the  metal 
plate ;  he  pours  a  little  pool  of  the  warm  gelatinous  ink  upon  the 
plate,  claps  a  sheet  of  white  paper  on  the  pool,  and  then,  with 
a  turn  of  the  handle,  makes  the  paper  press  down  upon  the 
plate.  The  result  is  that  the  superfluous  ink  is  squeezed  out, 
and  when  you  open  the  press  again  presently,  there  is  an  image 
made  up  of  ink  of  different  thicknesses.  The  hollows  in  the 
plates  have  permitted  a  good  deal  of  ink  to  remain,  thus  repre- 
senting the  shadows  of  the  picture,  while  in  the  lights  nearly  all 
the  ink  has  been  pressed  out,  and  in  these  portions  the  paper  is 
white — or  almost  white. 

As  we  have  said,  each  printer  stands  before  a  round  table  that 
revolves.  He  has  seven  presses  to  attend  to,  and  inks  them  one 
after  another ;  a  minute,  or  rather  more,  is  consumed  at  each 
revolution  of  the  table,  so  that  the  gelatinous  ink  of  each  picture 
has  this  time  to  set.    They  are  printing  a  portrait  of  Miss 


100 


STUDIOS  IN  LONDON. 


Genevieve  Ward  at  this  table,  as  she  appears  in  "Forget-me- 
Mot,"  at  the  Prince  of  Wales's;  it  is  to  illustrate  a  theatrical 
journal.  Ihe  printing  goes  on  very  fast;  a  wine  bottle,  kept 
"warm  in  a  water-bath  close  by,  holds  the  ink,  and  from  this  it 
is  poured  upon  the  shining  metal.  There  is  a  dirty  pool  of 
liquid,  and  a  white  sheet  of  paper  clapped  upon  it ;  a  turn  of  the 
press,  and  the  moment  afterwards  the  pool  and  the  paper  are 
converted  into  four  Miss  Genevieve  Wards,  all  looking  as  stern  as 
stern  can  be,  but  as  fresh  and  perfect  as  a  clean  silver  print.  The 
inking  goes  on,  the  table  revolves,  and  the  Miss  Genevieve  Wards 
accumulate,  until  a  boy  carries  them  off  to  a  canvas  tray  to  dry, 
of  which  there  is  a  perfect  stack  in  the  department;  30,000 
cartes  can  be  here  printed  in  a  day. 

Only  the  purest  pigment  obtainable — Indian  ink — can  be 
employed  in  the  printing  of  Woodburytypes,  for  accidental 
particles  of  pigment,  however  small,  would  ruin  the  pictures  if 
they  appeared  in  any  of  the  high -lights.  The  process,  so  far, 
looks  simple  enough,  but  in  practice  there  are  many  difficulties 
to  contend  against.  The  matter  of  securing  perfectly  good 
prints  depends  upon  the  printing  surfaces  being  perfectly  flat. 
Any  unevenness  of  the  paper  is  enough  to  spoil  the  picture,  for 
as  the  printing  is  simply  the  accurately  pressing  out  of  super- 
fluous ink  between  paper  and  plate,  if  these  are  not  both  perfectly 
level,  one  side  of  the  print  will  have  more  ink  than  the  other, 
and  hence  the  picture  will  be  dark  on  one  side  and  light  on  the 
other.  Great  care  is,  therefore,  taken  to  flatten  the  paper  used 
in  printing.  It  is  pressed  between  steel  plates,  and,  moreover, 
varnished  and  gelatined  to  prevent  the  ink  subsequently  being 
pressed  into  the  pores  of  the  paper,  for  the  Woodbury  print,  to 
be  successful,  must  be  a  true  surface  print. 

In  other  rooms,  the  drying,  aluming — for  the  gelatinous 
picture  requires  to  be  tanned  to  render  it  permanent — sorting, 
flattenning,  and  mounting  take  place.  The  Woodbury  Company 
gives  employment  to  something  like  sixty  hands,  and  this  number 
will  soon  be  further  increased,  for  the  managing  director  (Mr. 
Whitfield)  contemplates  extending  his  carbon  tissue  manufacture, 
and  having  an  electric  light,  with  suitable  engine,  on  the  premises, 
for  helping  in  his  work.  The  Company  appear  to  do  anything 
and  everything  in  connection  with  photographic  printing.  From 
Mr.  Whitfield's  well-known  work,  "Men  of  Mark,"  down  to  all 
sorts  of  advertisements  and  show-cards,  executed  in  thousands, 


MR,  WILLIAM  MAYLAND. 


101 


for  wholesale  houses,  the  Kent  Gardens  Establishment  occupies 
itself.  Here  are  pictures  of  rifles,  fowling  pieces,  vases,  shirt- 
fronts,  fenders,  fire-irons,  neck- ties,  pianos,  &c. — photographs 
produced  by  the  thousand.  "We  peep  into  the  glass-house  for  a 
moment,  and  cannot  repress  a  momentary  shudder  at  the  uncanny 
appearance  that  meets  the  eye.  First  of  all,  it  looked  like  a 
group  of  personages  perfectly  immovable  ;  then  it  resolved  itself 
into  so  many  heads,  hanging  lifeless,  a  sort  of  Blue  Beard's 
chamber ;  and  it  is  only  on  a  second  glance  that  we  perceive  there 
is  but  a  collection  of  head-dresses,  with  no  heads  in  them  at  all. 
Our  guide  evidently  notices  our  scared  look,  for  he  says  :  "Oh  ! 
that's  nothing;  we  had  a  hearse  here  yesterday." 

The  Woodbury  Company  are  famous,  as  everybody  knows,  for 
their  transparencies  for  the  lantern.  Photographers  frequently 
send  a  whole  series  of  negatives  to  be  made  into  lantern,  slides 
(sufficient  for  an  hour's  lecture  or  entertainment),  and,  during 
the  autumn  and  winter  months,  work  of  this  kind  is  one  of  the 
Company's  chief  occupations.  The  transparent  gelatine  ink  is 
thoroughly  well  adapted  to  the  magic  lantern,  and  permits  the 
light  to  pass  far  more  freely  than  it  can  do  through  the  opaque 
particles  of  a  silver  positive.  The  way  to  make  it  will  be  found 
on  referring  to  the  chapter  devoted  to  Mr.  Woodbury. 


ME.  WILLIAM  MAYLAND  IN  BEGENT  STREET. 

Some  years  ago  official  business  called  us  to  Marlborough  House. 
It  was  a  cold  foggy  morning  at  the  fag  end  of  October,  and  the 
wide  vestibule  struck  us  as  intensely  chilly,  on  our  entrance ; 
moreover,  on  ascending  the  thick  carpeted  stairs,  we  were 
ushered  into  a  room  on  the  first  floor  in  which  the  door  was 
kept  permanently  open.  It  was  the  equerry's  room,  and  that 
gentleman  received  us  with  exceeding  courtesy.  But  he,  too, 
was  cold,  and  his  faultless  attire  did  not  give  one  the  impression 
that  he  derived  any  warmth  from  it.    Our  conversation  was 

•  conducted  in  tones  scarcely  above  a  whisper,  and  there  was  a 
degree  of  unrest  observable  that  was  anything  but  comfortable. 
The  open  doorway  commanded  three  corridors — the  one  by 
which  we  had  ascended,  that  continuing  past  the  equerry's  door, 

.and  a  third  en  face  in  the  direction  of  the  Prince's  apartments. 


102 


STUDIOS  IN  LONDON. 


These  corridors  it  seemed  the  equerry's  especial  duty  to  watch, 
and,  during  the  period  of  our  visit,  that  officer  never  took  his 
cold  eye  off  the  doorway.  Portly  footmen  in  red  coats,  white 
stockings,  and  low  shoes  came  and  went  without  a  sound,  and 
startled  you  by  their  vivid  appearance  in  the  chill  silence.  Our 
companion  was  "  family  doctor  "  to  the  Princess  of  "Wales,  and, 
by  virtue  of  his  position,  indulged  occasionally  in  a  little  joke 
by  way  of  thawing  the  frigidity  that  prevailed ;  but  the  equerry 
did  not  unbend,  and  even  the  brisk  entrance  of  Prince  Arthur 
(he  was  not  Duke  of  Connaught  then),  who  good  humouredly 
exchanged  half-a-dozen  bright  sentences,  was  without  effect 
upon  the  stern  official.  But  as  we  still  waited  and  watched  the 
corridor  opposite,  and  His  Eoyal  Highness  failed  to  appear,  the 
equerry,  knowing  that  the  doctor  and  ourselves  were  conversant 
with  photographic  matters,  mentioned  the  circumstance  of  some 
little  enamels  having  just  arrived  for  the  Princess,  and  these  he 
submitted  for  our  inspection.  They  were  medallions  of  the 
Eoyal  children,  and  taken,  he  said,  by  a  little  firm  in  Regent 
Street,  of  which  he  did  not  quite  remember  the  name,  but  he 
thought  it  was  that  of  Mr.  "William  Mayland. 

Since  that  day  Mr.  Mayland  has  had  the  good  fortune  to  win 
a  medal  for  photographic  enamels,  the  only  award  of  the  kind, 
we  believe,  given  in  England.  Like  his  late  partner,  Mr. 
T.  E.  Williams,  he  appears  to  confine  himself  to  small  work  of 
exquisite  softness  and  finish,  and  to  trouble  himself  little  about 
other  phases  of  portraiture.  A  saunter  round  the  reception- 
room  of  the  u  little  firm  in  Eegent  Street"  at  once  supplies  the 
reason  why  Mr.  Mayland  receives  such  distinguished  patronage. 
Her  Eoyal  Highness  the  Princess  of  Wales  might  well  choose 
the  " little  firm"  to  execute  her  work,  for  in  enamels  and  the 
portraiture  of  children  evidently  lie  Mr.  Mayland' s  strong  points. 
Here  is  an  infant  Hercules,  bold  and  defiant ;  here,  two  tiny 
children,  muffled  up  against  the  cold,  standing  opposite  one 
another  ;  you  can  almost  see  their  breathing  in  the  cold  air,  and 
they  seem  to  have  served  as  models  for  Kate  Greenaway,  whose 
pictures  have  been  so  popular  this  winter.  They  wear  little 
coal-scuttle  bonnets,  and  quaint  cloaks  of  fur,  and  their  chubby 
cheeks  are  aglow  with  health.  Here  is  a  lady  in  a  garden  hat, 
feeding  a  canary  (a  delicate  cabinet  picture  this),  and  here  is 
a  row  of  military  heroes,  for  once  without  any  semblance  of 
loudness  and  vulgarity.    One  reason,  no  doubt,  for  the  general 


ME.  WILLIAM  MAYLAXD. 


103 


success  of  these  pictures  is  the  fact  that  Mr.  Mayland,  and  Mr, 
Mayland  alone,  is  the  author  of  them  ;  every  sitter,  we  are  told, 
has  his  personal  attention. 

We  go  upstairs  into  the  studio  to  see  Mr.  Mayland,  ushered  by 
a  polite  young  lady,  who  harbours  grave  doubts,  however,  as  to 
the  policy  of  our  visit.  She  scarcely  holds  with  our  notion 
of  giving  an  account  of  what  we  see;  but  consoles  herself 
with  the  reflection,  expressed  naively  enough  in  our  presence, 
that  "  to  be  sure  it  does  not  matter  much,  for  not  one  in  ten  will 
ever  look  at  it."  Mr.  Mayland  is  busy  with  a  sitter — a  clown  in 
motley.  He  is  not  a  large  clown ;  in  fact,  he  is  a  very  little  one 
— a  tiny  scaramouche  who  has  been  present  at  some  fancy  ball, 
and  whose  mamma  desires  that  he  should  be  perpetuated  in 
Grimaldi  attire.  We  ask  Mr.  Mayland  not  to  mind  us,  and  he 
does  not. 

We  always  thought  photographers  had  an  aversion  to  children ; 
at  least,  half  the  woes  of  which  disciples  of  the  camera  com- 
plain seem  to  take  their  rise  from  tender  offspring ;  but  to  Mr. 
Mayland  such  work  seems  to  afford  the  greatest  treat  in  the 
world.  The  way  in  which  the  little  fellow  is  entreated,  prayed, 
joked,  cajoled,  and  flattered,  makes  him  eminently  obedient.  No 
wonder  Mr.  Mayland  is  one  of  the  few  photographers  in  London 
who  seems  entirely  successful  with  children.  He  has  in  an 
eminent  degree  that  rare  combination  of  qualities — patience, 
perseverance,  tact,  and  skill — combined  with  that  delight  in  the 
work,  which  is  necessary  for  managing  juvenile  humanity.  In 
a  word,  he  converts  what  to  many  little  sitters  is  a  trying 
ordeal  into  a  merry  game  that  they  thoroughly  enjoy. 

The  glass-room  of  the  "little  firm  in  Regent  Street"  can 
scarcely  be  regarded  as  a  model,  and,  therefore,  it  need  not  be 
described  in  detail.  In  fact,  to  many  photographers  it  would  be 
a  wonder  how  such  softly-rounded  features,  such  delicate  model- 
ling, and  rare  finish  could  be  here  secured  of  this  perfect  manner 
in  a  studio  which  has  no  side-light,  but  one  directly  facing  the 
sitter,  and  this  of  a  westerly  nature.  Fortunately,  there  is  an 
ample  supply  of  illumination  (indeed,  the  studio  was  built  for 
Daguerreotype  work,  when  light,  and  plenty  of  it,  was  the 
only  consideration),  so  that  a  good  deal  may  be  done  with 
curtains  and  screens ;  but  it  is  only  between  the  hours  of  10  and 
12*30  that  Mr.  Mayland  can  work  with  effect.  The  studio  has 
a  length  of  thirty-three  feet ;  the  skirting-board  facing  the  sitter 


104 


STUDIOS  IN  LONDON. 


rises  some  three  or  four  feet,  and  then,  after  a  few  feet  of 
window,  there  comes  the  sloping  glass  roof. 

To  shade  his  cameras,  Mr.  May  land  was  formerly  in  the  habit  of 
employing  a  canopy  overhead  ;  but  this,  by  reason  of  his  defective 
lighting,  he  was  compelled  to  abandon.  He  now  uses  but  two  tiny 
laths  which  project  in  an  upward  direction  beyond  the  lens  some 
eighteen  inches,  and  over  which  a  piece  of  black  velvet  is  spread. 
"With  a  view  to  amuse  children,  there  are  plenty  of  quaint  pictures 
of  the  Reinecke  Fuchs  order  on  the  walls,  while  another  marked 
feature  is  a  round  disc  of  chamois  leather  with  a  bleeding  heart  in 
the  centre.  Fortunately,  before  we  had  taken  a  sketch  of  the 
latter  to  present  to  our  readers,  as  a  novelty  for  attracting  the 
sitter's  attention,  we  were  informed  that  it  had  no  photo- 
graphic value  at  all,  but  was  there  simply  for  the  purpose  of 
practising  with  the  foil ;  for  Mr.  May  land,  it  seems,  is  a  skilled 
fencer. 

Mr.  Mayland  was  good  enough  to  develop  some  gelatine  plates 
in  our  presence.  He  employs  for  the  purpose  only  artificial 
light.  He  has  had  a  lamp  expressly  made,  which  is  of  metal 
on  all  sides  except  the  face.  This  has  a  drop  front  of  ruby 
textile  fabric,  purchased  of  Mr.  Thomas,  of  Pall  Mall.  The 
lamp  measures  about  twelve  or  fourteen  inches  in  height,  and 
has  a  gas  burner,  which  is  always  kept  low.  He  develops, 
after  the  sitters  have  left,  the  whole  batch  of  negatives  taken 
during  the  day.  He  cuts  his  double  plates  into  halves  with  a 
diamond  ;  immerses  the  first  in  the  developer,  and  acts  upon  the 
second  with  a  weaker  or  stronger  solution,  as  the  first  seemed 
to  indicate.  The  development  of  the  first  plate  is  quite  sufficient 
for  all  the  rest.  To  ascertain  whether  a  gelatine  film  is  perfectly 
clear  (for  it  should  not  have  the  slightest  tinge  of  brown),  it  is 
placed  upon  a  sheet  of  white  paper.  The  brown  tinge  is  evidence, 
not  that  the  solution  was  not  strong  enough,  but  that  there  was 
too  little  of  it.  "With  plenty  of  developer,  followed  by  an  alum 
bath,  no  browning  of  the  transparent^  portions  will  ensue;  and 
how  detrimental  to  the  printing  qualities  of  a  negative  this  brown 
tint  is,  need  not  be  stated.  For  retouching,  he  employs,  before 
using  his  pencils,  a  little  of  the  "autotype  medium/'  which 
answers  very  satisfactorily  in  his  hands.  The  negative  is 
moistened  with  this  " medium"  by  means  of  a  bit  of  rag,  and, 
in  five  minutes,  is  as  good  as  paper  for  pencilling  upon.  E  or  HE 
pencils  are  used,  and  if  the  retouching  does  not  please,  it  is  easily 


ME.  LEON  WAlvNEBKE. 


105 


removed  again  by  the  "  medium."  When  the  negative  has  been 
satisfactorily  retouched,  it  is  varnished.  Mr.  May  land  has  not 
employed  a  wet  plate  for  two  winters  in  his  studio,  and  he 
estimates  the  comparative  sensitiveness  of  his  gelatine  films 
at  about  eight  times  that  of  collodion. 

Mr.  Maylancl  was  good  enough  to  show  us  his  laboratory  for 
the  preparing  of  enamels,  and  the  muffle  furnace  he  employs  in 
his  work.  The  process  is  of  so  delicate  a  nature  that  he  can 
trust  it  in  no  other  hands  than  his  own. 

To  those  interested,  we  may  mention  that  the  charges  made 
by  the  "little  firm  in  Regent  Street"  are  respectively  a  guinea 
and  a  guinea- and- a-half,  the  former  entitling  the  sitter  to  twelve 
carte  portraits,  and  the  latter  to  eight  cabinets.  The  charge 
made  for  enamels  is  from  two  guineas. 


ME.  LEON  WARNEEKE  AT  CHAMPION  HILL. 

Mr.  Waenekke's  house  is  not  difficult  to  find,  although  the 
pleasant  suburban  neighbourhood  is  unfamiliar  to  us,  and  the 
shades  of  evening  have  fallen,  as  we  climb  the  slope  of  Champion 
Hill.  We  know  the  thoroughfare,  however,  and  we  have  been 
told  we  shall  find  the  house  plainly  marked  when  we  get  to  it ; 
and  so  it  is.  Although  darkness  is  beginning  to  enshroud  trees 
and  houses,  the  word  "  Silverhowe  "  presently  shines  forth  on  a 
gate  before  us  in  clear  white  characters.  "  The  name  is  written 
in  phosphorescent  paint,"  explains  Mr.  "Warnerke,  laughing, 
when  we  congratulate  him  on  the  matter.  How  fervently  we 
wish  the  plan  were  generally  adopted  in  town  and  suburb. 
Phosphorescent  paint  would  save  many  a  grumble  at  dinner 
parties  ;  fewer  tempers  and  fewer  dinners  would  be  spoiled  by 
late-comers. 

Mr.  Warnerke  is  an  indefatigable  experimentalist,  as  every 
photographer  knows,  and  since  there  is  scarcely  any  branch  of 
the  art-science  in  which  he  has  not  engaged,  a  visit  to  him  is 
unusually  interesting.  The  only  difficulty  we  experience  is 
that  of  giving  our  readers  anything  like  an  adequate  account  of 
our  pleasant  reception,  for  as  we  move  from  one  room  to  the 
other,  chatting  upon  a  hundred  and  one  subjects,  it  occurs  to 


106 


STUDIOS  IN  LONDON. 


us  more  than  once — and  very  vividly,  too — that  our  humble 
powers  can  but  faintly  reproduce  the  many  interesting  facts  put 
"before  us. 

This  is  Mr.  Warnerke's  chemical  laboratory,  a  roomy  apart- 
ment fitted  with  all  the  appliances  of  the  modern  chemist. 
There  are  no  less  than  five  Sprengel  pumps  in  one  corner,  a 
portable  gas  engine  on  wheels  in  another,  apparatus  for  mixing 
rubber  solution,  for  collodion  making,  for  the  preparation  of 
phosphorescent  calcium,  and  a  vast  paraphernalia  of  utensils  of 
various  kinds.  A  photographic  laboratory,  or  dark  room,  is  next 
door,  and  upstairs  we  find  a  room  devoted  to  mechanics,  for  Mr. 
Warnerke  is  an  able  mechanician  as  well  as  chemist.  Those 
acquainted  with  his  roller  dark  slide  know  this ;  but  only  those 
who,  like  ourselves,  have  seen  the  most  recent  form  of  this 
ingenious  contrivance,  can  fully  appreciate  his  talents  as  a 
theoretical  and  practical  worker.  And  this  leads  us  to  speak  of 
the  most  important  feature  of  Mr.  Warnerke's  recent  investiga- 
tions. The  preparation  of  a  flexible  sensitive  tissue  of  gelatino- 
bromide  is  now  an  accomplished  fact,  and  we  had  the  pleasure  of 
inspecting  not  one  or  two  film  negatives  of  this  description,  but 
a  series  of  one  hundred.  The  series  represented,  too,  the  first 
negatives  produced  on  the  first  batch  of  tissue ;  and  when  we 
say  that  of  these  experimental  pictures,  three-fourths  at  least 
were  really  good  photographs,  while  of  the  rest,  scarcely  one 
could  be  pronounced abad,  we  have  said  enough  to  show  that  good 
times  are,  indeed,  coming  for  photographers,  and  especially  for 
those  who  engage  in  travelling  and  out-door  work.  Having 
ourselves  made  practical  trial  of  the  old  form  of  "Warnerke  tissue 
and  roller  slide,  on  two  mountain  tours,  we  feel  at  liberty  to 
speak  with  some  emphasis  on  the  point ;  and  if  tissue  as  rapid  and 
uniform  in  quality  as  the  ordinary  commercial  gelatine  plate  can 
be  prepared,  we  prognosticate  a  grand  future  indeed  for  Mr. 
Warnerke's  recent  invention.  The  new  tissue,  we  are  glad  to 
hear,  is  made  without  india-rubber,  the  paper  on  which  it  rests 
being  simply  coated  with  gelatine  ;  and  the  resulting  film  is  so 
stout  and  durable  that  the  negatives  may  be  safely  printed  with- 
out a  glass  support,  an  advantage  too  apparent  for  us  to  dwell 
upon. 

Our  readers  maybe  familiar  with  the  former  roller  dark  slide. 
There  were  two  rollers  in  a  box,  and  the  tissue,  as  it  was  exposed, 
a  small  area  at  a  time,  left  one  roller  to  embrace  the  other. 


MR.  LEON  WARNERKE, 


107 


There  was  a  liny  window  or  opening  in  the  box,  to  enable  the 
photographer  to  watch  the  progress  of  the  tissue  as  he  unrolled 
it,  to  bring  forward  a  fresh  piece  for  exposure  ;  and  by  watching 
for  numbers  in  succession — for  instance,  3,  4,  5,  6,  &c. — he  knew 
when  the  tissue  was  properly  fixed  in  position  for  exposure. 
Our  own  roller  slide  held  a  strip  of  tissue  enough  for  forty  pic- 
tures, and  not  until  this  number  of  exposures  had  been  made, 
and  the  number  40  appeared  through  the  little  window,  was  it 
necessary  to  replenish  the  apparatus.  Obviously  such  an  arrange- 
ment will  not  answer  for  a  highly  sensitive  gelatino-bromidc 
film;  ruby  and  yellow  glass  combined  would  no  cloubt  be  suffi- 
cient to  protect  the  tissue  in  the  slide,  but  then  it  would  be 
impossible  for  the  photographer  to  read  numbers  on  the  tissue 
through  this  double  thickness  of  glass.  Mr.  Warnerke,  there- 
fore, constructs  his  new  roller  slide  differently.  The  long  band 
of  tissue,  ere  it  is  wound  on  the  roller,  is  provided  near  the 
edge  with  a  series  of  small  perforations  or  holes.  If  it  is  a  five- 
inch  roller- slide,  to  take  pictures  five  inches  high,  these  perfora- 
tions are  punched  at  intervals  of  five  inches.  The  tissue  is  now 
wound  round  the  upper  roller,  and  stretched  clown  to  the  lower 
one,  in  which  position  it  is  ready  for  use. 

"We  will  now  suppose  the  first  exposure  has  been  made,  and 
the  photographer  desires  to  shift  the  tissue,  so  as  to  bring  a  second 
surface  into  the  field.  He  revolves  his  rollers,  by  an  ingenious 
arrangement  that  we  need  hardly  describe  in  detail ;  the  two 
rollers  are  set  in  action  by  turning  one  handle,  and  the  tissue 
passes  from  one  roller  to  the  other.  Presently  a  bell  rings  ;  it 
is  the  signal  to  stop.  The  perforation  in  the  tissue  of  which  we 
spoke  just  now  has  arrived  at  a  certain  spot,  and  a  little  metal 
stud  comes  into  contact  with  a  metal  surface  from  which  it  has 
hitherto  been  separated  by  the  tissue.  A  tiny  chloride  of 
silver  battery,  that  finds  a  place,  with  the  electric  bell,  inside 
the  slide,  furnishes  the  electric  current,  and  the  bell  continues 
to  ring  so  long  as  the  metallic  contact  continues. 

While  admiring  the  ingenuity  of  this  perfect  little  arrange- 
ment, many  will  be  tempted  to  ask  whether  the  rollers  and  the 
bell  and  the  electric  battery  do  not  make  up  together  a  somewhat 
costly  and  elaborate  bit  of  mechanism.  The  idea  is  very  natural, 
especially  by  reason  of  our  wordy  explanation.  But  a  glance 
at  the  apparatus  suffices  to  dispel  any  fear  of  this  sort.  The  bell 
is  not  much  bigger  than  a  thimble,  the  battery  is  equal  in  bulk 


108 


STUDIOS  IN  LONDON. 


to  a  couple  of  fingers,  and  the  cost  will  not  exceed  one-fourth 
more  than  the  sum  formerly  charged  for  a  roller- slide.  The 
slide  we  were  shown  had  its  battery  fitted  in  May  last ;  it  had 
done  a  journey  to  Eussia  and  back,  and  been  transported  by  rail, 
steamer,  and  camel,  and  served  for  the  production  of  three  hundred 
tissue  negatives.  Yet  its  power  was  still  intact,  and  the  bell 
obeyed  the  current  immediately. 

We  should  like  to  describe  some  of  the  pictures.  Here  are 
interiors,  with  all  absence  of  blur  about  the  windows — this  is  a 
most  important  quality  inherent  to  the  tissue — and  here  is  a 
picture  of  the  quays  on  the  Dwina  taken  from  a  moving  steamer, 
Mr.  Warnerke's  camera  being  provided  with  one  of  Cadett's 
clever  shutters.  Here  is  a  village  dance  by  Russian  woman,  their 
handkerchief  head-dresses  reminding  one  of  Lancashire  lasses. 
Here  is  an  open-air  theatre  at  Warsaw,  the  strangest  spectacle 
in  the  "world  ;  the  proscenium  is  surrounded  by  natural  decora- 
tions, trees,  shrubs,  &c,  with  a  space  for  the  orchestra  in  front, 
while  the  auditorium,  in  amphitheatre-shape,  is  separated  from 
the  stage  by  a  placid  river  which  forms  an  effectual  gulf  between 
players  and  spectators. 

Most  of  us  are  acquainted  with  the  actinomctcr  and  sensito- 
metcr  of  Mr.  Warnerke,  but  few  know  of  the  labour  and  cal- 
culations these  cost  to  devise.  In  the  case  of  the  actinometer, 
indeed;  the  work  had  to  be  done  a  second  time,  for  Mr. 
Warnerke's  first  calculations  were  based  upon  daylight  in 
February  and  March,  and  when  the  summer  time  came,  provision 
was  found  to  be  necessary  for  measuring  light  of  much  greater 
intensity.  To  ensure  all  instruments  being  of  the  same  character 
— or,  in  other  words,  the  deposit  of  coloured  medium  in  the 
different  degrees  being  all  of  the  same  thickness— Mr.  Warnerke 
works  from  one  standard  only.  Thus,  having  by  means  of  paper 
layers  built  up  his  degrees  of  various  thicknesses,  he  takes  a  cast 
of  these  in  Spcnce  metal.  This,  the  original  cast,  represents  the 
standard,  and  is  carefully  put  away,  after  supplying  moulds  in 
plaster  of  Paris  ;  like  they  do  the  original  die  of  our  sovereign  at 
the  Royal  Mint,  it  is  kept  as  a  record  after  it  has  served  to  strike 
off  a  matrix.  From  the  plaster  of  Paris  mould  other  impressions 
in  Spcnce  metal  are  taken,  from  which  the  scales  arc  printed. 

Spence  metal  has  occupied  much  of  Mr.  Warnerke's  attention 
of  late,  and  in  his  hands  it  bids  fair  to  become  a  most  valuable 
photographic  material.    The  suggestion  first  made  by  us  to 


ME.  LEON  WARNERKE. 


109 


employ  Spence  metal  for  plioto -relief  printing  Mr.  Warnerke  was 
not  slow  to  adopt,  and  he  was  good  enough — as  some  of  our 
readers  may  remember — to  publish  the  results  of  his  first  experi- 
ments in  the  Photogeaphic  News.  Since  then,  he  has  assiduously 
continued  his  investigations,  and  has  prepared  photo-relief  or 
"Woodbury  plates  of  Spence  metal,  and  fitted  them  in  adequate 
printing-presses.  As  we  have  said,  the  scales  of  the  Warnerke 
sensitometer  are  printed  off  from  Spence-metal  moulds.  "With  the 
employment  of  Spence-metal,  Mr.  Warnerke  hopes  further  to  over- 
come the  stumbling-block  which  has  stood  in  the  way  hitherto  of 
producing  large  Woodburytype  prints.  The  difficulty  of  getting 
large  metal  surfaces  truly  flat  is  almost  insurmountable,  and  if 
printing  surfaces  are  not  true  in  AVoodburytype  printing,  an  un- 
evenness  in  inking  results,  and  uniform  pictures  are  unobtainable* 
But  the  easily-molten  Spence  metal  will  supply  any  number  of  flat 
surfaces  without  difficulty,  if  care  is  only  taken  to  cast  it  upon  a 
true  level ;  while  the  delicacy  of  its  impression  may  be  gathered 
from  the  fact  that  a  finger  mark  upon  the  mould  is  reproduced 
in  the  Spence  cast  in  the  most  perfect  manner. 

Mr.  Warnerke  was  good  enough  to  show,  too,  how  he  printed 
his  black  figures  on  the  sensitometer,  and  as  photographers  may 
sometimes  find  it  convenient  to  be  able  to  print  letterpress  on  a 
glass  surface,  we  communicate  his  ingenious  method.  Mr. 
Warnerke  makes  use,  for  the  purpose,  of  an  ordinary  clothes- 
wringing  machine,  provided  with  a  rubber  roller.  What  is 
wanted  on  the  glass  suiface  is  printed  first  of  all  on  paper  in  a 
printing-press  in  the  usual  manner,  and  then,  while  the  ink  is 
still  fresh,  the  paper  imprint  and  glass  plate — face  to  the  glass — 
are  passed  through  the  wringing-machine  at  considerable  pressure. 
There  is  no  risk  of  breaking  the  glass,  and,  if  the  pressure  is 
sufficient,  the  print-off  is  exceedingly  black  and  clean.  If  the 
ink  is  dry  on  the  paper  before  it  can  be  used  in  the  wringing- 
machine,  no  doubt  a  little  turpentine  rubbed  on  the  back  would 
at  once  facilitate  its  transfer. 

Mr.  Warnerke,  besides  the  preparation  of  his  new  gelatino- 
bromide  tissue,  is  also  busy  establishing  the  preparation  of  gelatine 
plates  in  Eussia  ;  and  we  may  mention  that  Nelson's  No.  1  flake 
gelatine  and  ammonium  bromide  are  the  staples  he  prefers  in  the 
production  of  the  sensitive  film.  The  gelatine  in  question,  in  his 
experience,  is  much  more  free  from  ' 6 plague  spots"  than  any 
other  description  with  which  he  has  worked,  a  dictum  that  many 
of  our  readers  will  be  glad  to  note. 


110 


STUDIOS  IN  LONDON. 


A  CITY  PHOTOTYPE  ESTABLISHMENT. 

Our  visit  has  to  be  made  at  twice,  for  the  photographic  opera- 
tions connected  with  the  preparation  of  phototype  blocks  cannot 
be  undertaken  in  the  city.    But  first  a  few  words  by  way  of 
preface.    The  word  phototype  is  so  universally  applied  to  all 
sorts  of  photo-mechanical  printing,  that  it  has  almost  ceased  to 
have  any  definite  meaning,  and,  therefore,  the  process  we  are 
about  to  describe  requires  a  little  explanation.    It  is  the  produc- 
tion of  typographical  blocks — blocks  that  can  be  worked  in  the 
ordinary  printing-press  along  with  type  we  refer  to,  and  which, 
as  we  shall  presently  show,  are  produced  by  a  combination  of 
three  arts — viz.,  photography,  lithography,  and  etching.  The 
production  of  these  printing- blocks  has  of  late  become  a  busy 
trade,  particularly  in  Paris,  London,  and  New  York.    We  men- 
tion Paris  first,  because  it  seems  to  have  been  the  cradle  of  the 
-art,  and  the  employes  in  London  are  for  the  most  part  French- 
men.    "We    can    get    plenty    of    good  photographers  and 
lithographers  in  this    country,    it    appears;  but  those  who 
understand  etching  are  few  and  far  between.    If  you  can  call 
to  your  assistance  a  skilled  photographer,  a  skilled  lithographer, 
and  a  skilled  etcher,  then  there  is  little  difficulty  in  the  produc- 
tion of  typographical  blocks  by  the  aid  of  photography  ;  but  it 
is  only  in  the  presence  of  these  three  that  success  can  be  hoped 
for.    The  difficulties  in  the  way  of  producing  good  work  are  so 
many  that  it  requires  the  most  practised  in  each  craft  to  contend 
with  them ;  and  let  a  man  be  ever  so  ready  in  understanding 
the  three  processes  involved,  if  he  has  not  served  an  apprentice- 
ship to  them  all  (and  this  is  very  unlikely),  he  will  not  succeed 
unaided. 

The  raison  d'etre  of  these  phototype  establishments  is  not  far 
to  seek.  Our  cheap  illustrated  newspapers  cannot  pay  for  wood 
blocks — at  any  rate,  for  all  their  pictures — and  a  less  expensive 
substitute  is  imperative.  Photography  stands  ready  to  lend  a 
hand  in  the  dilemma.  Any  picture  that  appears  in  the  foreign 
illustrated  journals  of  sufficient  interest  is  made  to  do  duty  again 
over  here.  The  picture  is  sent  to  a  city  phototype  establishment, 
and,  in  a  couple  of  clays,  a  suitable  printing-block  is  returned. 
It  does  not  matter  what  the  size  of  the  original  picture  may  be^ 
or  what  is  the  size  of  the  block  desired ;  the  camera  is  ready  to 


A  CITY  PHOTOTYPE  ESTABLISHMENT.  Ill 


faring  about  any  modifications  of  this  kind  that  may  be  requisite, 
and  the  work  is  done — thanks  to  considerable  competition — at 
a  very  low  rate ;  the  charge  is  but  threepence  halfpenny  to  five- 
pence  per  square  inch,  so  that  a  zinc  printing-block,  measuring 
four  inches  each  way,  is  produced  for  less  than  eight  shillings. 

The  " studio"  we  visit — if  an  open,  glass-roofed  shed  can  be 
dignified  by  the  name — is  the  most  simple  of  its  kind  within 
our  knowledge.  The  photographic  arrangements,  too,  are  of  a 
most  primitive  description.  There  is  a  solid  square  table  in  the 
middle  of  the  apartment,  measuring  about  four  feet,  and  the 
camera,  with  a  long  base-board,  is  pivoted  on  it.  The  base- 
board, if  it  may  be  so  termed,  is  continued  in  front  of  the  camera, 
and  ends  in  an  upright,  against  which  the  picture  to  be  copied 
is  placed.  It  is  rare  that  any  large  work  has  to  be  copied,  and 
rare,  too,  that  the  picture  has  to  be  reproduced  the  same  size  as 
the  original.  The  camera  is,  indeed,  somewhat  small  for  the 
purpose,  capable  of  taking  nothing  larger  than  a  twelve-inch 
plate.  " Bat  we  never  have  an  order  for  any  very  big  work  of 
this  kind,"  says  our  informant. 

The  camera  and  base-board  is  so  loosely  pivoted,  that  it  can 
not  only  be  revolved  with  the  greatest  ease  to  suit  the  lighting, 
but  either  end — camera  end,  or  the  end  at  which  the  upright 
and  picture  are — may  be  heightened  or  lowered,  which  is  done 
simply  by  wedging  a  block  of  wood  underneath,  much  as  if  it 
were  a  see-saw.  A  rectilinear  lens,  of  twenty-six  inches  equiva- 
lent focus,  is  employed  for  the  work,  and  the  negatives  present 
no  point  of  difference  from  ordinary  photo-lithographic  plates. 
Transparent  lines  upon  an  opaque  ground  is,  of  course,  the  result 
aimed  at,  and  this  is  produced  by  the  ordinary  bichloride  of  mercury 
intensifier,  although,  to  our  thinking,  the  Eder  and  Toth  lead 
intensifier,  in  use  at  the  "Woolwich  Photo-lithographic  Establish- 
ment, gives  greater  opacity,  and  is  more  simple  to"  use.* 

Before  quitting  this  part  of  the  establishment,  attention  was  called 
to  the  "balance"  arrangement  for  copying-cameras,  in  use  in 
America,  and  of  which  we  give  a  sketch.  This  arrangement  would 
be  found  particularly  useful  for  phototype  work,  and  we  may  men- 
tion, by  the  way,  that  this  cut  was  reproduced  from  the  Scientific 
American  by  the  phototype  process  we  are  now  describing.  By 
its  means  the  camera  and  object  are  always  kept  parallel. 


*  See  the  <c  Woolwich  Photo-lithographic  Establishment." 


112  STUDIOS  IX  LONDON. 

The  lithographic  and  etching  operations  are  carried  on  in  a 
dark  little  court  in  the  vicinity  of  Fleet  Street,  and  thither  we 
journey  in  company  with  some  prints  upon  bichroniated  gelatine 


paper  from  the  negatives  we  have  seen  taken.  The  "studio,' r 
we  have  said,  was  rough  and  crude  enough,  and  the  workshops 
here  are  in  keeping  with  it.  The  place  is  littered  with  old 
frames  and  dirty  machinery ;  but  there  is  plenty  of  work  going 
on,  nevertheless.  This  first  division  of  the  shop  is  confined  to 
lithography;  at  the  further  end  the  etching  process  is  gone 
through. 

One  of  our  prints  is  faced  with  ink.*  The  lines  of  the 
drawing,  which  previously  were  of  a  dark  brown  upon  the 
yellowish  bichromate  paper,  appear,  now  the  superfluous  ink 
has  been  removed,  of  a  jet  black,  the  viscid  ink  standing  up  in 

*  The  velvet  roller,  described  in  the  ' 1  Woolwich  Photo -Lithographic 
Establishment, "  might  be  used  here  with  much  advantage. 


A  CITY  PHOTOTYPE  ESTABLISHMENT.  113 


ridges.  In  the  photo-zineographic  process,  as  it  is  carried  on  at 
Southampton  and  elsewhere,  this  impression  in  fatty  ink,  or 
transfer,  would  be  laid  upon  the  zinc  plate,  and  the  latter  then 
etched  in  acid.  But  it  is  different  in  producing  a  typographical 
block,  and  this  is  a  point  to  which  we  want  to  direct  our  readers. 
The  inked  photograph  is  first  put  upon  stone  before  it  is  trans- 
ferred to  the  metal.  This  is  an  important  point,  and  this  is 
where  the  skill  of  the  lithographer  is  made  use  of.  He  can  pro- 
duce a  much  better  result  on  a  lithographic  stone  than  on  a  zinc 
plate.  The  former  surface  is  so  even  and  smooth,  and,  more- 
over, is  so  well  in  hand  in  the  press,  that  if  the  photo-litho- 
graph is  at  first  deficient  in  some  respects,  it  is  soon  improved 
under  the  hands  of  the  lithographer.  We  see  our  print  now  on 
the  stone  to  which  it  has  been  transferred  by  pressure,  and  the 
lithographer,  by  all  the  little  means  at  his  disposal— inking-rag, 
acid-sponge,  scraper,  roller,  and  camel-hair  pencil — coaxes  and 
amends  the  image  to  such  a  degree  that  we  hardly  know  it  again. 
One  sees  at  once  why  a  skilful  lithographer,  and  not  one  who 
has  a  passing  acquaintance  only  with  the  process,  is  necessary. 

The  black-lined  image  on  stone,  now  well  rolled  up  with  the 
ink  roller,  and  with  no  trace  of  that  rottenness  in  the  lines  which 
was  here  and  there  visible  when  the  picture  was  originally  trans- 
ferred, is  now  ready  for  re- transfer  to  zinc.  If  the  first  re- 
transfer  is  not  successful,  another  may  be  taken,  and  so  on,  once 
the  image  is  on  the  stone ;  so  the  intermediate  process,  besides 
its  utility,  acts  as  a  sort  of  insurance  against  failure.  An  im- 
pression is  taken  on  a  suitable  piece  of  transfer  paper,  and  the 
latter  is  then  pressed  into  contact  with  a  well-cleaned  zinc 
surface.  The  image  in  fatty  ink  now  rests  upon  the  zinc  plate, 
and  this  is  ready  for  etching. 

The  etching  process  in  all  takes  from  three  to  eight  hours.  A 
big  shallow  tray  or  bath  is  filled  with  water  acidified  with  nitric 
acid.  "We  dip  a  finger  into  the  liquid  ;  to  the  taste  it  is  acid, 
but  not  unpleasantly  so.  This  is  the  first  bath,  and  a  weak  one. 
As  the  etching  goes  on,  a  stronger  solution  is  employed.  During 
the  immersion  of  the  zinc  plate  the  bath  is  kept  continually 
rocked  by  a  lad  who  sits  beside  it.  Ten  minutes  or  a  quarter  of 
an  hour  passes,  and  then  the  plate  is  lifted  out.  It  is  taken  to 
a  side  table  and  then  rolled  up  with  an  ink  roller  as  if  it  were 
a  lithographic  stone ;  thence  it  goes  upon  a  heated  slab,  which 
quickly  dries  the  plate ;  afterwards  some  finely-powdered  resin 


114 


STUDIOS  IN  LONDON. 


is  sifted  over  it,  and  then  the  plate  once  more  goes  into  the 
etching  bath.  This  treatment  is  repeated  at  frequent  intervals, 
the  image  being  rolled  up  every  time  it  comes  from  the  bath, 
and  powdered  resin  being  sifted  over,  sometimes  when  the 
plate  is  wet,  sometimes  after  it  has  been  dried  and  warmed, 
according  as  the  etcher  sees  fit.  The  ink  and  the  resin  pre- 
serve that  part  of  the  zinc  which  they  cover  from  the  action 
of  the  acid,  and  as  the  process  proceeds,  and  the  layer  of  ink 
gets  thick,  the  etching  may  go  on  with  increased  rapidity. 
But  until  the  fine  lines  are  safely  etched,  it  is  necessary  to  pro- 
ceed with  caution.  The  heating  of  the  zinc  plate  is  for  the 
purpose  of  melting  the  resin  so  that  it  may  run  down  and  protect 
the  walls  or  ridges  upon  which  the  fine  raised  lines  stand,  and 
prevent  any  under-mining  by  acid.  Towards  the  end  of  the 
process,  we  have  said,  a  much  stronger  solution  of  nitric  acid 
is  employed,  and  the  eating  away  of  the  metal  goes  on  apace. 
In  the  end  the  image  appears  raised  from  the  surface  of  the 
plate  to  the  extent  of  a  twentieth  of  an  inch,  and  the  finished 
printing-block  is  before  us. 


AT  MILLBANK  PRISON. 

It  is  a  clear  morning,  but  a  sharp  east  wind  is  blowing  over  the 
parapet  from  the  steely  Thames,  as  our  hansom  carries  us  quickly 
along  the  Embankment.  "We  pass  the  Abbey,  Old  Palace  Yard, 
the  tall  and  majestic  Victoria  Tower,  the  magnificent  stone 
archway  known  as  the  Peers'  Entrance,  and  then,  suddenly 
leaving  all  these  fine  buildings  and  grandeur  behind  us,  enter  the 
narrow  street  that  leads  to  Millbank.  Here  we  come  out  upon 
the  river  again,  and  the  wind  blows  more  chilly  than  ever ;  or  is 
it  that  solemn  fortress-looking  building,  that  pile  of  grim  brick 
and  barred  windows,  that  causes  the  shivering  ?  There  is  little 
time  for  reflection,  for  cabby  presently  pulls  up  at  a  massive  stone 
gate,  beside  a  black  doorway  all  studded  with  bars  and  bolts. 

A  big  round  knocker  confronts  us,  for  all  the  word  like  a 
heavy  iron  fetter,  but  our  unsteady  hand  fails  to  raise  it.  "  Try 
the  bell,  sir,"  says  cabby;  who  coolly  waits  to  see  how  we  get 
on,  and,  in  the  hope,  no  doubt,  that  admission  will  be  refused, 
speculates  about  the  chance  of  a  fare  back.    But  he  is  doomed  to 


AT  MILLBANK. 


115 


-disapointment.  The  door  opens  but  slowly,  and  a  little  way 
only,  it  is  true,  but  it  opens  sufficiently  to  show  a  warder  in  steel 
buttons  and  a  shining  chain  with  keys  attached  to  his  girdle  ;  he 
takes  the  card  we  thrust  into  the  yawning  crevice,  and  reads  it. 
The  card  is  satisfactory,  and  in  another  moment  we  are  standing 
in  the  lodge,  and  indulging  in  a  weak  joke  about  the  difficulty 
of  getting  into  prison.  But  we  are  not  there  yet.  Another  iron 
gate  has  to  be  unlocked — after  the  first  has  been  carefully  shut 
— and  we  are  then  at  liberty  to  enter  confinement. 

The  shape  of  Millbank  prison  is  that  of  a  star-fish,  the  centre 
being  occupied  by  the  governor  and  various  officers,  and  the 
radiating  wings  by  the  prisoners.  We  walk,  unattended,  along 
a  silent  and  solemn  avenue,  to  the  central  offices,  the  dull  prison 
walls  on  either  side,  their  embrasure-looking  windows  more  like 
a  fortress  than  ever  ;  there  is  no  noise,  and  not  a  soul  is  to  be 
seen.  But  we  pass  by  a  warder  presently,  standing  in  a  recess 
so  quietly  that  he  quite  startles  us,  and  then  we  go  by  two 
others,  one  of  whom  has  a  note-book  in  which  he  makes  an 
entry.  "We  ask  our  way  to  the  governor's  offices ;  a  gesture, 
rather  than  words,  is  the  reply  we  receive. 

But  once  in  the  centre  of  the  establishment,  the  aspect  of 
affairs  changes.  You  feel  that  chill  wind  no  longer ;  there  are 
green  leaves  and  ivy  to  gaze  upon,  and  dilute  sunshine  even ; 
you  pass  through  busy  workshops  and  yards  where  men  are  at 
work  and  at  exercise. 

A  cheerful  office  full  of  busy  clerks  is  here,  and  comfortable 
furniture  and  a  bright  fire.  There  is  a  savoury  smell  of  lunch 
about — of  Irish  stew,  if  we  mistake  not — which  exerts  quite  an 
appetising  effect.  One  begins  to  think  that  a  prison  is  not  such 
a  bad  place  to  live  in,  after  all,  for  a  short,  a  very  short  time,  if 
— if — only  they  did  not  make  such  a  bother  about  opening  that 
big  black  door  at  the  entrance.  There  is  nothing  unusual  about 
anybody,  now  one  grows  accustomed  to  the  scene.  If  it  were 
not  that  the  majority  of  the  men  were  clad  in  a  monotonous  grey 
dress,  and  the  minority  wore  a  dark  uniform  with  steel  buttons 
and  steel  chains  at  their  side,  which  have  a  metallic  handcuff 
ring  about  them,  one  might  easily  mistake  Millbank  for  some 
other  Government  establishment,  say  Portsmouth  Dockyard  or  the 
Arsenal  at  "Woolwich. 

Armed  with  the  governor's  authority,  a  guide  now  leads  the 
-way  to  the  photographic  studio  in  which  we  are  interested.  He, 


116 


STUDIOS  IN  LONDON. 


too,  has  a  steel  chain  with  a  pass-key.  Here  is  the  glass-house — 
a  little  erection  in  a  yard  by  itself.  "We  enter.  It  is  a  model  of 
neatness  and  cleanliness  ;  in  fact,  we  unhesitatingly  say  it  is  the 
brighest  little  studio  we  have  seen  in  our  experience  of  "At 
Homes."  The  floor  is  as  white  from  scrubbing  as  the  deck  of  a 
man-of-war;  there  is  not  a  thing  out  of  its  place  ;  not  a  piece  of 
apparatus  is  awry  or  in  disorder ;  not  a  speck  of  dirt  is  visible. 
Strips  of  clean  carpet  are  laid  in  the  gangway,  and  where  the 
sitter  is  posed  the  floor  is  painted  black. 

What  about  the  lighting?  it  will  be  asked.  The  lighting,  we 
reply,  fulfils  the  requirements  of  a  model  studio,  as  we  heard 
them  recently  expressed  at  the  establishment  of  Messrs.  Hills 
and  Saunders.  A  high  wall  at  some  distance  from  the  studio, 
that  the  sun  cannot  get  over,  so  that  there  is  little  or  no  necessity 
for  blinds,  and  the  diffused  light  can  be  used  as  you  find  it. 
The  Millbank  studio  is  not  lighted  from  the  north,  it  is  true ; 
but  there  is  plenty  of  illumination,  and  it  may  be  employed 
without  stint. 

The  photographer  at  Millbank  is  one  of  the  steel-buttoned 
warders,  and  we  congratulate  him  on  his  well-arranged  studio. 
Here  are  some  pictures  he  has  just  taken — half  profile,  bold, 
clear,  and  vigorous  portraits,  well  lighted,  and  altogether  unlike 
what  prison  photographs  usually  are.  There  is  no  'prentice  hand 
here,  and  we  say  so.  In  reply,  our  warder  unbends  his  austere 
manner,  and  introduces  himself  as  a  former  acquaintance.  He 
is  no  other  than  Corporal  Laffeaty,  late  of  the  Eoyal  Engineers, 
an  apt  pupil  of  Captain  Abney's,  and  one  of  the  clever  Sappers 
who  took  part  in  the  Transit  of  Yenus  Expedition.  The  mystery 
is  solved ;  no  wonder  the  Millbank  portraits  of  late  have  been  so 
good. 

A  sitter  is  departing  as  we  arrive — a  man  in  ordinary  attire, 
his  short,  cut-away  beard  giving  him  the  appearance  of  a  foreigner. 
Our  guide  sees  our  look  of  astonishment :  "He  is  a  liberty  man, 
and  is  photographed  in  liberty  clothes  ;  he  goes  out  next  week, 
and  has,  therefore,  been  permitted  to  grow  a  beard  during  the 
past  three  months ; "  and  on  Ihe  desk  we  sec  a  printed  form 
referring  to  him,  to  which  his  photograph  will  presently  be 
attached.  "  Seven  years'  penal  servitude,  three  years'  police 
supervision,"  we  note  is  upon  it.    His  crime  was  forgery. 

What,  we  ask,  if  a  man  refuse  to  be  photographed  just  before 
the  expiration  of  his  sentence?    Our  guide  smiles:  "It  is  a 


AT  MILLBANK. 


117 


very  simple  matter ;  a  man  is  usually  set  at  liberty  before  his 
time,  but  only  if  lie  conforms  to  our  regulations. " 

Our  guide  leaves  us  for  awhile,  and  Mr.  Laffeaty  asks  if  he 
shall  go  on  with  his  work.  We  reply  in  the  affirmative,  and 
:  he  quits  the  studio  to  fetch  a  sitter.  He  is  not  long  gone,  for 
there  are  plenty  outside  in  the  yard  we  have  just  crossed,  men 
in  grey,  ambling  round  the  flagged  area  at  a  rapid  pace  at  fixed 
distances  from  one  another,  and  reminding  you  vividly  of  a 
go-as-you-please  race  at  the  Agricultural  Hall.  He  is  a  young 
man  of  stalwart  build,  the  sitter,  when  he  appears,  and  he  is  as 
docile  as  a  dog.  He  is  clean  shaven,  and  has  an  ugly  black  L 
on  his  sleeve,  which  means,  poor|fellow,  that  he  is  a  "  Lifer." 

There  is  a  wooden  arm-chair  for  posing.  "Look  here,  I  want 
you  to  sit  down  like  this,"  says  our  friend  the  photographer, 
placing  himself  sideways  in  the  settle,  so  as  to  give  a  half  profile. 
The  convict  does  as  he  is  told,  and  evidently  enjoys  the  business 
immensely.  "  Don't  throw  the  head  back  quite  so  much  ;  there, 
that  will  do.  Now  put  up  your  hands  on  your  breast,  so."  For 
the  shrewd  governor  (Captain  Harvey),  it  seems,  believes  that 
a  photograph  of  a  man's  hands  is  as  important  almost  as  that  of 
his  face. 

The  warder-photographer  retires  to  coat  his  plate,  and  we 
are  left  for  a  moment  alone  with  a  ""Lifer."  "Why  shouldn't 
he  make  a  rush  for  it,  fell  us  to  the  earth,  and  have  a  try  for 
liberty?  He  might  be  a  murderer;  that  he  had  committed  a 
terrible  crime  was  certain  from  his  sentence.  Keep  the  camera 
between  yourself  and  the  man,  and  be  ready  to  roar  out  lustily 
if  he  so  much  as  move  a  muscle,  was  one  precaution  that  occurred 
to  us  ;  or  should  we  knock  him  down  at  once  out  of  hand  before 
he  began  any  mischief  at  all  ?  * 

No  such  precautionary  measures  are  called  for.  Indeed,  it 
made  one  smile  to  think  of  such  a  thing  as  resistance.  One 
might,  perhaps,  conjure  up  such  thoughts  as  these  in  the  presence 
of  an  imaginary  convict ;  but  the  facts  here  are  very  common- 
place. On  the  arm  chair  opposite  you  sits  a  young  man,  almost 
a  boy,  with  a  frank,  good-humoured  face — a  poor  fellow  who  is 


*  We  hear  afterwards  that  this  convict  was  arraigned  on  a  charge  of 
murder;  but  a  verdict  of  manslaughter  only  was  returned.  He  stabbed  a 
woman  with  a  sharp  pipe-stem,  wounding  her  so  grievously  that  she  died 
in  twenty  minutes. 


118 


STUDIOS  IN  LONDON. 


evidently  luxuriating  in  a  delightful  moment  of  release  from 
drudging  work  and  monotonous  labour.  Do  what.you  want  him 
to  ?  "Will  he  be  obedient  ?  Why,  he  would  stand  on  his  head 
to  please  you  and  to  escape  for  a  few  minutes  longer  his  daily 
toil.  And  as  to  bravado  and  ruffianism  ;  there  is  just  the  same 
difference  between  the  daring  robber,  and  this  grey-clad,  humble 
individual,  as  there  is  between  a  fighting  cock  with  his  plumes 
and  feathers,  and  a  plucked  fowl  on  the  poulterer's  connter. 

Mr.  Laffeaty  comes  back  to  the  docile  prisoner,  focusses,  gives 
an  exposure  of  fifteen  seconds  with  a  wet  plate  and  No.  2B 
lens,  and  secures  an  admirable  negative.  "  I  have  never  had 
the  least  difficulty,"  he  tells  us,  after  he  has  taken  back  his 
charge,  "  either  with  the  men  or  with  the  women.  The  men 
are  apt  to  be  too  grave,  the  women  are  sometimes  given  to 
giggling ;  that  is,  perhaps,  the  only  drawback  I  have  to  contend 
against.  T  never  take  any  full-face  portraits  in  the  old  style, 
and  I  think  I  have  improved  the  photography  itself  of  late. 
There  was  an  article  in  the  Photogkaphic  News  called  -  At  Home 
at  Scotland  Yard '  some  months  ago,  and  I  have  taken  up  several 
of  the  hints  given  there." 

Mr.  Laffeaty  has  to  work  very  quickly  at  times,  and,  as  a 
consequence,  develops  and  fixes  at  once,  without  waiting  to 
intensify.  The  latter  operation  he  does  in  the  light,  with  a  few 
drops  of  sulphide  of  potassium  in  water,  a  method  which, 
while  ready  and  effective,  does  not  appear  to  give  too  much 
hardness. 

We  cross  the  yard  once  more  to  make  a  call  on  the  governor. 
The  grey  coats  are  still  hard  at  it  at  their  go-as-you-please 
race,  except  a  few  men  who  have  falleu  out,  and  standing  still 
with  their  faces  turned  to  the  wall  like  naughty  boys.  They 
have  an  hour's  exercise  a  day,  and  some  of  them  seem  to  be 
trying  to  get  double  the  amount  out  of  the  time. 

To  Captain  Harvey  is,  in  a  great  measure,  due  the  improve- 
ment in  photography  that  has  of  late  distinguished  the  Millbank 
establishment.  He  is  good  enough  to  show  us  several  series  of 
pictures.  Here  is  Kurr,  of  turf  swindling  notoriety.  This  long 
face  belongs  to  Paine,  convicted  the  other  day  of  poisoning  a 
woman  with  drink,  and  who,  it  appears,  was  one  of  the  men  we 
just  now  saw  exercising  in  the  yard  below.  Here  are  the  two 
Stauntons  connected  with  the  Penge  mystery,  and  other  more  or 
less  well-known  criminals.    All  these  are  "first  convictions," 


AT  PENTONVILLE  PENITENTIARY. 


llg 


who  are  confined  by  themselves,  and  bear  a  much  better  charac- 
ter from  the  warders  than  the  "  habitual  criminal "  class,  for 
whose  special  behoof  photographic  portraiture  has  been  provided. 
It  is  for  the  passer  of  counterfeit  coin,  the  burglar,  and  the 
swindler — who  have  little  interest  for  the  public,  but  a  great  deal 
for  the  prison  and  police  authorities — that  criminal  registers  are 
required,  to  aid  the  suppression  and  detection  of  crime. 


AT  PENTONVILLE  PENITENTIAKY. 

A  very  mistaken  notion  prevails  upon  the  subject  of  photo- 
graphing prisoners.  The  popular  idea  is  that  the  prisoners  them- 
selves are  very  unwilling  to  submit  to  the  ordeal,  and  usually 
make  all  sorts  of  difficulties  and  disturbances,  sometimes  not 
easily  over-ruled.  Strange  accounts  have  been  published  of 
cunning  devices  and  ingenious  tricks  practised  upon  convicts  in 
order  to  secure  a  photograph  of  their  features  ;  and  we  remember 
seeing,  not  long  ago,  a  talented  picture,  the  subject  of  which  was 
an  unwilling  sitter  maintained  in  position  by  a  couple  of  stalwart 
warders,  while  the  photographer  did  his  worst,  or  rather  his 
best.  Such  representations  work,  from  the  nature  of  things,  a 
marked  impression  upon  the  public  mind,  and  hence  is  due  the 
impression  that  the  photographing  of  prisoners  is  peculiarly 
troublesome  and  difficult.  But  it  is  the  exceptions  that  the 
public  hear  about,  and  not  the  ordinary  operations. 

No  doubt  obstreperous  criminals  are  met  with,  from  time  to 
time,  and  no  doubt,  too,  the  photographer  has  often  his  work  to 
do  over  and  over  again  ;  but  some  little  experience  has  shown  us 
that  a  more  docile  body  of  sitters  than  our  convicts  do  not  exist. 
We  do  not  say  this  because,  as  photographers,  they  are  easily 
satisfied — because  they  never  offer  a  remonstrance  or  suggestion 
— never  ask  to  see  the  negative — and,  above  all,  do  not  importune 
for  a  second  sitting.  But,  so  far  as  we  have  seen,  they  sit  quieter 
and  steadier,  and  are  more  ready  to  fall  in  with  the  exigencies 
of  photography,  than  their  brethren  in  freedom. 

Pentonville  Penitentiary  is  the  largest  establishment  of  the 
kind  in  England.  At  the  time  of  our  visit  there  were  eleven 
hundred  prisoners  within  the  walls,  and  a  much  larger  number 


120  STUDIOS  IN  LONDON. 


can  find  accommodation  if  necessary.  Every  man  sentenced  to 
penal  servitude  comes  to  Pentonville,  and  the  first  nine  months 
of  the  period  of  his  conviction  he  passes  there.  It  is  during  this 
period  that  he  is  photographed,  and  the  photographic  records  of 
Pentonville  thus  include  every  man  in  the  kingdom  sentenced  to 
penal  servitude.  There  is  the  same  strict  watch  and  vigilance 
at  entrance  and  lodge  which  we  described  as  existing  at  Mill- 
bank.  There  is  the  same  military  discipline  among  the  warders 
— the  same  grey  monotonous  appearance  about  the  prisoners. 
Millbank  had  ivy  and  shrubs  as  its  principal  ornament ;  at 
Pentonville,  it  is  the  green  grass  plots  upon  which  the  prisoners 
rest  their  eyes  for  relief. 

So  that  these  green  spots  may  exist  within  the  tall  sombre 
walls,  grass  is  grown  in  the  exercise  squares,  and  circular  paths 
of  asphalte,  some  two  feet  wide,  appear  like  gigantic  rings  one 
within  the  other.  The  prisoners  are  at  exercise  at  this  moment, 
and  we  can  see  them  from"  a  window  in  the  governor's  room, 
walking  round  and  round  the  green — an  outer  circle  and  an  inner 
circle  of  them,  a  warder  on  a  raised  >  platform  looking  on.  The 
men  are  closer  together  than  at  Millbank,  and  step  out  with 
military  precision,  and  for  the  most  part  with  jaunty  air  and 
elastic  step  ;  some  even  smirk  and  smile  as  they  catch  sight  of  us 
at  the  window ;  swinging  their  arms  and  wagging  their  heads, 
there  are  not  half-a-dozen  who  appear  dull  or  dejected.  Perhaps 
it  is  the  bright  sunshine  that  pours  down  upon  them  in  their 
roundabout  tramp.  One  poor  fellow  walks  to  and  fro  in  a  corner 
by  himself  ;  he  has  a  wooden  leg,  and  cannot  keep  up  with  the 
brisk  march  of  his  fellows. 

On  our  way  to  the  studio  we  pass  through  the  central  hall  of 
the  prison,  the  lofty  white  walls  rising  sixty  or  eighty  feet  on 
either  side ;  tiers  upon  tiers  of  cells,  having  access  to  light  iron 
galleries,  one  over  the  other,  run  the  length  of  the  hall,  which  is 
spanned  at  intervals  by  iron  bridges.  "Warders  are  posted  every- 
where, in  vestibule,  gallery,  and  bridge.  "We  look  into  one  of 
the  cells;  it  measures,  perhaps,  12 feet  by  8  feet,  and  contains  a 
hand-weaving  machine,  at  which  the  prisoner  works.  The  cell 
is  whitewashed,  is  very  clean,  and  lightened  by  a  window  some 
nine  feet  from  the  floor. 

The  governor  is  good  enough  to  show  us  the  tailoring  shop, 
the  shoemaker's  shop,  the  laundry,  the  infirmary  (where  a  dozen 
poor  fellows  are  lying  in  bed,  but  as  comfortable,  apparently,  as 


AT  PENTONVILLE  PENITENTIARY. 


121 


they  would  be  in  any  hospital  in  London),  and  the  kitchen, 
where  huge  boilers  and  stewpans  are  all  attended  by  convicts.  It 
is  suet  pudding  day  to-day,  the  only  day  in  the  week  when  there 
is  no  meat ;  but  the  governor  says  it  is  a  favourite  meal,  for  all 
that,  and  we  are  invited  to  taste  the  pudding — a  pound  block  like 
a  tinned  loaf—  which  is  made  of  whole  flour,  and  served  with  the 
same  weight  of  potatoes. 

Universal  silence  reigns  everywhere — in  kitchen,  workshop, 
and  yard,  for  a  prisoner  is  reported  if  he  so  much  as  opens  his 
lips.  During  the  whole  of  his  sentence  he  is  forbidden  to  speak 
to  anyone  but  the  warders,  and  these,  as  we  enter,  salute  the 
governor,  and  immediately  call  out  their  brief  report  without 
waiting  for  any  invitation  to  do  so. 

The  photographic  studio  is  on  the  second  floor  of  a  solitary 
building  in  one  of  the  yards,  and  has  been  built  by  someone 
possessing  a  knowledge  of  photography.  The  days  are  long 
since  gone  by  when  a  wooden  bench  in  front  of  the  prison  wall 
was  the  only  convenience  at  the  photographer's  disposal.  The 
glass  room  is,  however,  far  from  perfect,  for  not  only  is  the  aspect 
faulty,  but  the  skirting-board  rises  too  high  to  permit  of  a  good 
side  light.  Indeed,  when  the  prisoner  sits  down  to  be  photo- 
graphed, the  line  of  light  from  the  side  is  above  his  head.  The 
consequence  is,  the  top  half  of  the  studio  is  very  light,  where 
the  sitter  is  not,  and  the  lower  half,  where  the  sitter  is,  com- 
paratively speaking,  in  shadow.  But  the  photographer,  who  is 
at  present  entrusted  with  the  work  of  taking  portraits,  is  fortu- 
nately clever  enough  to  combat  with  some  success  against  the 
existing  drawbacks,  among  which  may  also  be  cited  apparatus 
that  leaves  something  to  be  desired. 

Six  convicts  file  into  the  studio  attended  by  a  warder.  They 
remove  their  caps,  and  sit  down  in  a  row  on  a  form  ;  in  grey 
jackets  and  knickerbockers,  with  shaven  faces  and  cropped  hair, 
they  look  like  big  school  boys.  One  of  them  takes  up  a  narrow 
black  board,  some  six  inches  wide,  and  proceeds  to  write  very 
neatly  in  chalk  the  number  and  name  of  the  first  sitter,  the 
board  being  then  placed  above  the  man's  head  when  his  picture 
is  taken.  He  sits  on  a  high-backed  chair,  and  with  no  head-rest 
remains  perfectly  still  for  the  seven  seconds  the  exposure  lasts. 
"  Look  at  those  bottles  in  the  corner,"  says  the  photographer, 
briefly,  so  that  the  man  may  turn  his  head  a  bit ;  and  then  the 
lens  is  uncapped.    A  double  carte  plate  is  used  ;  but  the  men  are 


122 


STUDIOS  IN  LONDON. 


so  steady  that  rarely  is  a  second  negative  taken  ;  another  convict 
takes  the  seat,  and  the  narrow  black  board  above  the  head  is  re- 
versed, the  back  bearing  the  second  man's  name  and  number. 

While  the  double  plate  is  being  developed,  and  another  put 
into  the  slide,  there  is  time  to  clean  the  black  board,  and  put  upon 
it  two  other  names.  There  is  no  speaking ;  the  convict  simply 
pulls  out  of  his  jacket  pocket  a  wooden  tablet  bearing  name  and 
number,  and  this  is  copied. 

"Look  at  those  bottles,"  repeats  the  photographer,  rather 
sharply,  to  his  next  sitter,  for  the  man  has  not  heeded  the  first 
request ;  "  and  put  your  chin  down."  The  sitter  smiles  faintly, 
but  does  not  obey.  Ah  !  here  is  a  refractory  prisoner  at  last ;  we 
are  glad  of  it,  for  we  shall  be  able  able  to  see  how  matters  are 
managed.  But  we  arc  disappointed.  "He  is  deaf,"  says  the 
warder,  who  no  sooner  comes  forward  and  explains  to  the  sitter, 
than  the  latter  is  all  obedience. 

According  to  the  regulations,  every  prisoner's  head  should  be 
depicted  an-inch-and-a-quarter  in  length,  but  this  is  only  taken 
as  an  approximate  size.  The  photographer  does  better  than 
measure  the  head  every  time ;  he  takes  every  one  of  the  same 
proportion  ;  that  is  to  say,  the  distance  between  lens  and  sitter 
is  always  the  same,  and  is  never  varied,  a  measuring  rod  at  once 
regulating  the  interval.  In  this  way  a  much  better  idea  of  the 
size  of  a  man's  face  and  features  is  obtained  than  if  large  heads 
and  small  were  all  depicted  of  the  same  dimensions. 

It  is  necessary  to  produce  rather  hard  negatives,  otherwise  it 
is  almost  impossible  to  secure  contrast  of  any  kind.  The  men 
being  shaven  and  shorn,  they  present  little  contrast  in  themselves, 
while  the  dress  they  wear,  being  of  a  dull  grey  and  with  few 
folds,  makes  but  a  poor  monotonous  result  if  the  negative  errs 
on  the  side  of  softness.  Under  any  circumstances,  with  the 
black  board  and  its  chalk  writing  above  the  head,  the  hands 
pressed  close  against  the  breast — for  a  picture  of  the  hands  is 
deemed  as  requisite,  as  we  have  said  before,  as  one  of  the  face, 
from  the  fact  that  they  are  so  much  an  indication  of  the  man's 
calling — and  the  ugly  dress,  a  prison  photograph  can  never  be 
anything  but  a  doleful  result ;  but  it  is  nevertheless  satisfactory 
to  find  that  the  photographs,  as  photographs,  have  of  late  years 
been  much  improved. 

Bssides  securing  records  of  prisoners,  the  practice  of  photo- 
graphing them  has  one  other  advantage.    In  itself  it  acts  as  a 


MR.  H.  P.  ROBINSON. 


12& 


deterrent  of  crime.  Every  criminal  is  aware  that  a  picture  has 
been  taken  of  him,  and  he  never  knows  how  much  this  may  be 
the  means  of  bringing  him  to  justice  if  he  relapses  once  more 
into  evil  ways.  He  is  apt  to  over-estimate  rather  than  under- 
estimate the  power  of  photography,  and  it  forms,  at  any  rate,  one' 
reason  the  more  why  he  should  refrain  from  crime  hereafter  when 
he  is  again  a  free  man. 


STUDIOS    IN  ENGLAND. 


ME,  H.  P.  ROBINSON  AT  TUNBRIDGE  WELLS. 

Theke  are  photographers  and  photographers.  Perhaps  in  no 
other  profession  except  those  of  literature  and  art  do  we  find  so 
vast  a  gulf  as  between  the  highest  and  lowest  in  photography. 
Among  painters  there  is  the  President  of  the  Royal  Academy, 
and  the  humble  producer  of  signs.  Among  authors  there  is  the 
historian  who  is  making  his  name  immortal,  or  the  poet  Laureate, 
who  is  the  glory  of  his  generation,  and  the  penny-a-liner  who 
hunts  up  conflagrations,  and  writes  sensational  reports  upon  big 
gooseberries.  In  photography  we  have  those  who,  by  earnest 
study  and  thorough  education,  have  elevated  their  art  to  the 
level  of  the  great  professions,  and  the  man— to  be  found  in  every 
town — who  manufactures  cartes  at  a  few  shillings  per  dozen. 
"We  do  not  wish  to  speak  deprecatingly  of  the  low-priced  photo- 
grapher ;  he  is  just  as  useful  in  his  way  as  are  the  humbler 
workers  in  literature  in  theirs ;  he  perforins  an  important  duty 
to  the  community  by  supplying  cheap  portraits,  which,  if  they 
do  not  stand  high  as  art  productions,  present  at  least  recognisable 
likenesses.  It  is  his  object  to  produce  portraits  at  a  cheap  rate, 
and  he  does  well  what  he  is  called  upon  to  do.  But  it  is  not 
of  him  or  his  class,  useful  as  it  may  be,  that  we  have  to  speak, 
but  of  a  gentleman  who  is  truly  one  of  the  princes  of  the  camera, 
who  has  helped  to  make  photography  into  the  great  art,  as, 
apart  from  science,  it  has  now  become. 

The  author  of  " Pictorial  Effect  in  Photography' '  is  so  well 


124 


STUDIOS  IN  ENGLAND. 


known  to  our  readers  in  his  pictures,  which  have  been  exhibited 
year  after  year,  and  gained  medal  after  medal,  that  we  have  no 
need  here  to  dwell  upon  the  charming  compositions  that  have 
issued  from  his  studio.  The  poetry  of  " Fading  Away"  has  not 
only  stirred  the  breast  of  many  onlookers,  but  has  inspired  the 
novelist,  for  in  "Old  Charlton"  we  may  read  of  an  incident 
suggested  by  this  very  picture.  "When  the  Day's  "Work  is 
Done"  is  another  touch  of  pathos  conveyed  by  the  camera,  and 
the  same  may  be  said  of  the  gay  summer  scenes,  the  deep 
shadowed  pools,  the  open  heather,  the  breezy  yachting  pictures, 
that  Mr.  Eobinson  has  transferred  to  paper.  These  works  need 
no  praise  on  our  part,  for  the  simple  reason  that  their  high 
excellence  has  been  acknowledged  by  competent  judges  time  after 
time. 

There  is,  indeed,  no  other  photographer  living  who  has  been 
honoured  v.  ith  so  many  medals  for  pictures  and  portraiture  as 
Mr.  H.  P.  Eobinson,  the  awards  in  gold,  silver,  and  bronze, 
which  it  has  been  his  good  fortune  to  receive,  amounting  at  the 
present  moment  to  more  than  half-a-hundred.  The  gold  medal 
of  the  last  Paris  Exhibition — only  one  was  given  for  por- 
traiture— came  to  Tunbridge  Wells,  to  the  Great  Hall  Studio; 
and  so  great  a  show  does  the  shining  collection  of  awards  make 
in  Mr.  Eobinson' s  atelier,  that  one  might  almost  mistake  his 
vocation  for  that  of  a  collector  of  medallions  rather  than  that  of 
an  artist. 

Mr.  Eobinson' s  studio  is  one  of  the  very  few  buildings  that  has 
been  built  for  the  particular  purpose  they  fulfil.  Moreover, 
from  the  fact  that  it  was  planned  and  constructed  after  years  of 
experience  gained  at  Leamington  and  in  London,  we  may  take 
it  that  its  design  is  well  nigh  perfect ;  but  if  further  proof  of 
this  were  wanting,  it  is  afforded  by  the  charming  studies  of 
children  that  meet  one  at  every  turn,  and  which,  at  one  and  the 
same  time,  proclaim  the  artist  and  the  man  of  tact.  Por,  in  the 
case  of  these  infantile  portraits,  the  possession  of  art  knowledge 
does  not,  as  every  photographer  knows,  alone  suffice.  The  taste 
and  rare  skill  with  which  the  tiny  sitters  are  posed  and  draped 
is  easily  accounted  for,  since,  beyond  being  a  fervid  disciple  of 
the  camera,  Mr.  Eobinson  has  been  a  painter  all  his  life,  the 
Eoyal  Academy  having  admitted  his  work  before  he  had  attained 
his  twenty-first  birthday.  But  long  study  of  photographic  art, 
and  of  the  requirements  of  camera  and  sensitive  plates,  has  also 


MR.  H.  P.  ROBINSON. 


125 


been  necessary  to  give  our  host  the  command  he  exercises  over 
his  models ;  and  the  reason  why  so  very  few  photographers 
succeed  as  Mr.  Eobinson  succeeds,  is  because  they  either  lack  his 
knowledge,  or  do  not  tal^e  such  infinite  pains  over  the  work.  No 
doubt  his  studio  permits  him  to  secure  more  easily  the  effects  he 
desires ;  but  this,  too,  is  the  result  of  his  labours  as  a  photo- 
grapher and  artist  combined. 

Mr.  Eobinson' s  studio  is  remarkable  from  the  fact  that  it  does 
not  contain  one  of  Seavey's  backgrounds.  The  backgrounds  here 
are  all  prepared  by  our  host  by  a  modified  Faulkner  process. 
This  clever  method  of  Mr.  Faulkner,  which  has  now  been  pub- 
lished, was  to  rub  wet  chalks  of  the  proper  tint  upon  wet 
canvas,  and  afterwards  soften  down  the  effects  with  an  ordinary 
clothes  brush.  This  method  of  using  chalks  is  as  simple  as  it  is 
effective.  A  skilled  eye  and  practised  hand  are  indispensable 
for  applying  them  and  wielding  the  brush ;  but  any  photographer 
who  is  something  of  an  artist,  will  find  the  plan  far  more  simple 
than  the  distemper  painting.  "  Just  took  me  an  hour,"  said 
Mr.  Eobinson,  pointing  to  a  bit  of  sea  and  rock,  against  which 
he  had  been  posing  some  bare-legged  youngsters;  the  back- 
ground had  evidently  taken  their  fancy,  or  something  else,  for 
their  portraits  were  as  lively  and  merry  as  if  the  beach  were 
before  them. 

The  studio  measures  thirty-six  feet  long  by  some  fifteen  feet 
wide.  The  lighting  is  north,  and  as  the  wainscoting  at  the 
side  runs  up  to  a  height  of  five  feet,  it  is  from  a  steep  sloping 
glass  roof  that  the  illumination  comes.  There  are  a  few  curtains, 
and  of  the  most  simple  character.  Mr.  Eobinson  never  sees  the 
sun  the  whole  clay  long.  Here  is  the  camera  pointed  ready  for 
a  panel  or  promenade  portrait,  for  Mr.  Eobinson  has  for  some 
time  past  introduced  this  style  of  picture.  "  "What  lens  are  you 
using?"  we  ask.  "  Dallmeyer's  2a  portrait,"  is  the  reply; 
and  then,  in  his  bluff  characteristic  manner,  our  host  adds,  1 1  not 
that  I  think  it's  the  best ;  but  I've  got  it." 

Mr.  Eobinson  thinks  there  is  a  great  future  for  the  panel 
portrait.  Already  he  has  albums  for  them.  "  I  always  insist 
upon  angular  openings,"  says  Mr.  Eobinson,  in  reference  to  these 
albums,  "  and  I  have  great  difficulty  in  getting  them."  The 
panel  portrait  permits  the  photographer  to  exercise  taste  and 
skill  in  arranging  drapery,  and  ladies'  dresses  lend  themselves 
particularly  well  to  the  style. 


126 


STUDIOS  IN  ENGLAND. 


A  series  of  theatrical  scenes  which  Mr.  Robinson  has  just 
executed  were  exceedingly  good.  You  saw  the  whole  breadth 
of  the  stage,  which  was  bordered  in  excellent  taste  with  ferns 
and  flowers,  out  of  which  grew  the  footlights.  The  pictures 
presented  certain  episodes  in  play  and  farce,  and  the  action  and 
expression  of  the  players  were  capital.  Here  is  a  party  of  six 
at  one  of  those  scrambling  untidy  dinners,  inherent  to  the 
"  screaming  farce  ;  "  here  a  drawing-room,  with  two  ladies 
tete-a-tete  ;  here  a  verandah  looking  on  the  briny  ocean,  with  a 
lady  evidently  in  hysterics,  and.  a  nervous  gentleman  at  his  wits' 
-end  to  soothe  her.  "What  Mr.  Robinson  does,  he  certainly  does 
well.  The  series,  which  numbers  upwards  of  a  score,  were 
secured  upon  gelatine  plates,  but  Mr.  Robinson  gives  all  the 
credit  of  their  success  to  an  able  stage  manager.  Be  this  as  it 
may,  they  are  certainly  the  funniest,  as  they  are  the  most  per- 
fect, theatrical  representations  we  have  seen  reproduced  by 
photography. 

"We  must  not  forget  to  say  a  word  upon  the  subject  of  carbons 
on  opal,  apparently  the  most  delicate  form  of  photographic 
portraiture  produced  by  the  method  which  Mr.  J.  R.  Sawyer 
has  given  with  considerable  detail  in  these  pages.  Nor  must 
we  omit  to  mention  the  beautiful  photographic  enamels  for 
which  the  Great  Hall  Studio  has  been  famous  for  some  years 
past.  "We  see  that  the  prices  asked  for  enamels  vary  from 
fifteen  shillings  to  three  guineas. 

The  whole  of  Mr.  Robinson's  establishment,  so  far  as  the 
public  is  concerned,  is  on  the  ground  floor.  The  reception  room 
opens  into  a  small  gallery,  fresh  and  green  with  ferns,  out  of 
which  lead  the  dressing  rooms,  while  further  on  is  the  studio. 
Children's  portraits,  as  we  have  remarked,  is  what  Mr.  Robinson 
delights  in,  and  everywhere  these  laugh  at  you  from  the  walls, 
or  coyly  peep  from  the  corners.  As  we  gave  a  last  look  round 
at  these  happy  faces,  we  could  not  help  thinking  what  a  world 
of  good  the  misanthrope  would  derive  from  a  contemplation  of 
them  all. 

A  good  test  of  the  quality  of  a  man's  productions  (on  the 
principle  that  a  thing  is  worth  what  it  will  fetch)  is  the  price 
he  gets  for  them.  Mr.  Robinson  continues  to  maintain  respect- 
able and  "  professional "  charges,  notwithstanding  what  many 
people  would  consider  severe  competition,  for  there  is  a  host  of 
photographers  in  Tunbridge  Wells,  and  of  all  degrees.  But 


MR.  ALDERMAN  MAYALL. 


127 


cheap  photography  does  not  really  injure  the  heads  of  the  pro- 
fession ;  the  public  have  become  appreciative,  and  know  that 
.good  work  can  only  be  got  for  a  good  equivalent  in  love  or 
money.  At  the  same  time  there  is  this  difference  between  a 
true  artist,  like  Mr.  Bobinson,  and  the  ordinary  commercial 
.photographer — the  latter  must  make  a  profit  on  everything,  the 
former  spares  no  trouble  or  expense  to  get  the  best  results.  He 
says  it  pays  in  the  end,  and  we  believe  him. 


ME.  ALDEEMAN  MAYALL  AT  KING'S  BOAD,  BEIGHTON. 

The  9th  of  January,  1840,"  said  Mr.  Mayall.  We  had  asked 
our  host  the  date  of  his  first  handling  a  Daguerreotype,  and  this 
was  his  reply.  "  You  know  Groddard  suggested  the  employment 
of  bromine  in  1840  in  conjunction  with  iodine  for  sensitizing  the 
silver  plate ;  well,  although  I  was  one  of  the  first  to  employ 
bromo-iodide  of  silver,  I  practised  the  slower  process  with  iodine 
alone,  when  I  began  photography."  Mr.  Mayall  came  to 
England  in  1845,  and  then  commenced  that  war  between  him 
and  Mr.  Beard  on  the  subject  of  the  Daguerreotype  patent.  The 
process  had  been  improved,  added  to,  and  modified  so  much  since 
the  patent  was  granted,  that  it  could  scarcely  be  deemed  the  same 
thing.  In  1851  Mr.  Mayall  made  his  great  coupy  and  his  pic- 
tures of  the  International  Exhibition,  which  many  of  our  readers 
have  seen,  brought  him  at  once  to  the  front  rank.  The  Prince 
Consort  was  especially  kind,  and  took  Mr.  Mayall  by  the  hand, 
consulting  him  now  and  again  upon  the  rapid  strides  which 
photography  began  to  take.  "When  it  was  suggested,  in  1855, 
to  Lord  Panmure  that  the  camera  might  be  made  a  useful 
observer  upon  the  field  of  battle,  it  was  to  Mr.  Mayall  our 
military  authorities  turned  for  advice.  Two  young  officers, 
Ensign  Brandon  and  Ensign  Dawson,  were  selected  to  perform 
the  duty  of  military  photographers,  and  these  were  ordered  to 
report  themselves  to  Mr.  Mayall  for  instruction.  So  spiritedly 
did  everybody  enter  into  the  work,  that  within  a  month  these 
officers  had  been  tutored  and  equipped  for  duty,  and  despatched 
to  Sebastopol.  The  pictures  sent  home  by  the  young  military 
photographers  are  still  to  be  found  in  the  archives  of  the  War 


128 


STUDIOS  IN  ENGLAND. 


Office,  together  with  the  fine  prints  secured  at  the  Crimea  by 
Eoger  Penton  and  Bobertson. 

On  the  occasion  of  the  wedding  of  the  Prince  and  Princess  of 
Wales,  Mr.  Mayall  accomplished  a  feat  which,  eighteen  years 
ago,  made  considerable  stir  among  photographers.  He  was  com- 
manded by  Her  Majesty  to  proceed  to  "Windsor  to  take  a  series 
of  pictures  of  the  Royal  pair,  of  the  bridesmaids,  and  other 
illustrious  visitors.  The  command  reached  him  about  forty- eight 
hours  before  the  time  fixed  for  the  wedding,  and  ho  w  he  was  to 
make  arrangements  for  so  much  work  was  a  problem  not  easy  to 
solve.  There  was  no  corridor  or  conservatory  at  Windsor  suit- 
able for  the  purpose,  and  all  the  authorities  could  offer  him,  in 
reply  to  his  telegram,  was  a  canvas  marquee.  Bridal  dresses 
of  glaring  white  are  at  all  times  difficult  subjects  for  the  camera, 
and  to  photograph  a  score  or  two  of  them  in  a  marquee,  and 
photograph  them  well,  was  a  task  only  to  be  contemplated  by  a 
strong  man.  In  a  frame  of  mind  less  complacent  than  his  wont, 
Mr.  Mayall  was  hunting  in  a  hansom  cab  along  the  Euston  Road, 
to  get  together,  as  speedily  as  possible,  the  numerous  requisites 
for  his  responsible  task — for  heirs  to  the  throne  are  not  married 
every  day — when  he  caught  sight,  in  one  of  the  long  front 
gardens  of  that  thoroughfare,  of  a  spacious  glass  house  for  sale, 
with  the  notice,  "  Can  be  erected  anywhere. "  The  cab  was 
stopped,  the  builder  called,  and  the  price  asked.  "I'll  purchase.' ' 
said  Mr.  Mayall,  i  i  if  you  will  pull  it  to  pieces  and  set  it  up  for 
mc  at  Windsor  by  ten  to-morrow  morning."  The  builder  was 
an  enterprising  man,  and,  learning  its  object,  at  once  caught  the 
bridal  infection,  and  gave  his  hand  on  the  bargain. 

'  We  sat  in  that  glass  house,  now  a  trim  little  conservatory, 
not  so  long  ago,  and,  amid  scarlet  pelargoniums  and  purple 
heliotropes,  and  in  a  dewy  atmosphere  redolent  with  perfume, 
Mr.  Mayall  told  us  its  history ;  for  after  the  structure  had  done 
duty  so  well  at  Windsor,  our  host  carried  if  off  with  him  to  make 
an  adjunct  to  his  own  dwelling.  The  series  of  bridal  pictures  of 
the  Prince  and  Princess  of  Wales  and  bridesmaids  taken  by  Mr. 
Mayall  on  that  occasion  are  historical,  and  need  no  comment  on 
our  part,  and,  from  their  popularity  and  wide-spread  publication, 
it  can  readily  be  imagined  that  the  photographs  brought  their 
producer  some  profit ;  but  there  are  few  who  guess  the  extent  of 
the  sum  that  actually  was  realised. 

We  have  shown  that  Mr.  Mayall  is  intimately  connected  with 


I 

MR,  ALDERMAN  MAYALL. 


129 


the  history  of  photography ;  but  there  is  one  other  reason  why 
you  cannot  set  foot  into  his  studio  without  thinking  of  "  old 
times."  There  is,  probably,  no  other  photographer  who  possesses 
such  an  extensive  collection  of  negatives  of  bye-gone  celebrities. 
Here  is  the  Prince  Consort,  quiet  and  dignified ;  here,  two  tough 
Chancellors  of  the  old  school — Lord  Lyndhurst  and  Lord 
Brougham  ;  on  another  wall  there  is  Kossuth,  and  further  on 
Lord  Palmerston,  Marshal  Pelissier,  the  late  Lord  Derby,  and 
Earl  Bussell,  Sir  J.  Herschell,  Sir  David  Brewster — nay,  even 
a  picture  of  Daguerre  himself  is  to  be  espied  in  a  corner.  The 
value  of  some  of  these  negatives  is  very  great,  and  here  is  a 
wrinkle  we  may  mention  out  of  hand,  which  our  readers  will  do 
well  to  make  a  note  of.  You  can  hardly  keep  a  stock  of  glass 
negatives  a  quarter  of  a  century,  especially  if  you  print  much 
from  them,  without  running  some  risk,  and  with  the  best  care 
in  the  world  they  occasionally  get  cracked  and  broken.  Of  Mr. 
Mayall's  costly  collection  there  are  some  in  this  condition,  but 
still,  strange  to  say,  the  prints  exhibit  no  sign  of  the  defect. 
And  for  this  reason ;  all  cracked  negatives  are  printed  by  them- 
selves, and  in  a  singularly  ingenious  manner.  There  is  a  simple 
roasting-jack  on  the  printing  roof,  and  from  it  depend  four  cords 
holding  up  a  square  board  by  its  corners.  When  the  jack  is 
wound  up,  this  board  revolves  first  one  way,  and  then  the  other, 
and  cracked  negatives  laid  upon  it  to  print,  leave  no  record 
behind  them  of  the  defect.  Por  vignette  printing,  whether 
cotton  wool  or  glass  masks  are  used,  this  mode  of  proceeding 
should  be  very  valuable,  and  we  commend  it  strongly  to  our 
readers.  A  jack  may  be  purchased  for  a  few  shillings, 
and  does  not  require  to  be  wound  up  more  than  four  times  an 
hour.** 

To  Mr.  MayalFs  manager  at  Brighton  we  have  to  tender 
our  best  thanks  for  all  we  saw  in  the  way  of  practical  work* 
ing.  "This  is  one  of  our  studios,"  said  the  manager,  as  we 
ascended  to  the  first  floor.  "W e  looked  in.  It  was  a  spacious 
drawing  room  with  two  windows,  with  couch,  table,  and  mantel- 
piece within  eight  or  ten  feet  from  the  light.  That  there 
should  be  no  deception,  he  insisted  on  posing  us  upon  the  sofa, 
and  taking  a  portrait  forthwith.    "I  am  employing  a  landscape 


*  Mr.  Tulley  has  commented  on  the  utility  of  the  roasting-jack  in  a. 
similar  connection. 

K 


130 


STUDIOS  IN  ENGLAND. 


lens,  and  I  am  not  sure  of  the  sensitiveness  of  these  plates,  as 
they  are  some  of  a  batch  I  made  last  night,  so  I  shall  stop  down, 
and  give  you  fifteen  seconds."  And  in  less  time  than  it  takes 
to  write,  a  drawing-room  picture  was  secured.  A  white  screen, 
placed  on  the  shadow  side  to  reflect  back  the  light  from  the 
windows,  was  the  only  adjustment  necessary. 

" In  making  gelatine  emulsion,"  said  our  friend,  "I  always 
prepare  four  or  five  small  batches  rather  than  one  large  one.  I 
then  test,  and,  as  they  turn  out  in  sensitiveness,  I  mix.  A 
batch  that  shows  tendency  to  fog  is  cured  of  the  evil  by  mixing 
with  a  comparatively  insensitive  batch,  and  so  on.  I  always 
test  with  a  landscape  lens  well  stopped  down,  for  it  is  only  by 
means  of  a  long  exposure  that  you  can  thoroughly  get  at  the 
qualities  of  your  emulsion.' ' 

"We  went  upstairs  to  the  ordinary  studios.  They  are  three 
in  number  "  Sitters  for  portraits  are  requested  to  place  them- 
selves as  much  as  possible  in  the  hands  of  the  artist,"  is  a  notice 
conspicuously  placed.  A  feature  of  these  studios  is  the  cameras. 
They  are  all  fixed  upon  heavy  cast-iron  stands,  and  stand  and 
camera  are  never  severed.  The  stands,  though  heavy,  being 
upon  small  wheels,  may  be  moved  smoothly  and  with  ease.  On 
no  account  are  cameras  to  be  dismounted,  is  one  of  the  rules  of 
the  establishment.  The  lenses  are  very  carefully  hooded,  and, 
moreover,  the  end  of  the  glass-room  at  which  they  are  worked 
is  very  dark.  But  how,  it  will  be  asked,  if  one  end  of  the  room 
is  always  dark,  can  a  sitter  be  depicted  from  one  side  or  other 
of  his  face,  as  may  seem  desirable  ?  Mr.  Mayall  gets  over  the 
difficulty  in  a  very  si  mple  fashion.  His  studio  rises  right  above  the 
Brighton  houses,  and,  on  one  side,  faces  the  sea ;  there  is  con- 
sequently plenty  of  light.  Two  of  the  studios  are  built  parallel, 
and  only  divided  from  one  another  by  a  heavy  tapestry  curtain. 
In  the  one  you  have  a  westerly  light ;  lift  the  curtain  and 
walk  into  the  adjoining  room,  and  the  light  is  easterly.  The 
third  studio  has  northerly  lighting,  and  in  this  there  is  an  arrange- 
ment for  darkening  the  room  in  a  few  seconds.  Sitters  are 
always  pleased  to  see  their  portraits  life-size,  and,  by  the  aid  of 
this  darkening  arrangement  and  a  solar  camera  let  into  the  wall, 
they  may  be  at  once  gratified  in  this  respect.  From  the 
circumstance  that  the  Mayall  establishment  produces  a  large 
number  of  enlargements,  we  may  well  presume  that  this  ingenious 
contrivance  is  not  without  some  influence  upon  visitors. 


MR.  ALDERMAN  MAYALL. 


131 


Of  lenses,  Mr.  Mayall  has  a  battery — or  shall  we  say  a  park  ? — 
for  the  huge  instruments  remind  one  very  much  of  artillery, 
their  calibre  is  so  big.  The  condenser  of  the  solar  camera 
measures  no  less  .  than  24  inches.  Here  is  a  triplet  of 
Dallmeyer's  ;  it  is  eighteen  inches  in  length  and  six  inches  in 
diameter.  Next  to  it  lies  a  shining  instrument  of  Voigtlander, 
with  a  calibre  of  no  less  than  nine  inches,  together  with  another 
of  seven,  and  a  monster  by  E-oss  that  actually  measures  ten  inches 
across.  This  last  magnificent  instrument  has  upon  the  face  of 
it  markings  like  drops  of  water;  they  are  the  effects  of  a  heavy 
hammer  wielded  by  one  who,  in  a  temporary  fit  of  madness, 
essayed  to  demolish  this  lens  out  of  sheer  wantonness.  How 
well  the  hard  glass  resisted  the  ill-treatment  is  really  marvellous, 
and,  strange  to  say,  the  markings  have  no  effect  upon  the  lens 
as  an  optical  instiument. 

There  are  few  curtains  and  screens  in  the  studios.  The 
curtains  above  are  of  blue  linen  simply  stretched  upon  wires 
three  feet  apart,  the  curtains  being  brought  over,  or  pulled  back, 
by  means  of  a  pole — a  simple  and  effective  arrangement  that 
never  gets  out  of  order.  There  are  some  bits  of  tapestry,  for 
employment  as  backgrounds,  but  the  most  striking  of  these  was 
one  of  an  exceedingly  novel  character.  It  rose  some  eight  feet 
high,  and  was  constructed  of  jointed  or  ribbed  wood,  or,  more 
properly  speaking,  of  laths  standing  upright.  It  could  thus  be 
made  to  assume  various  forms — a  semi-circle  round  the  model, 
a  recess,  and  consequently  shadow,  to  his  left  or  right,  or,  if 
necessary,  a  column  might  be  shaped  at  one  side  by  bending  the 
plastic  screen  suitably.  The  covering  of  this  background  was 
of  grey  cloth,  which,  naturally  enough,  was  rendered  dark  or 
light,  according  as  it  was  put  into  the  shade  or  not. 

The  terms  at  Mr.  May  all's  establishment  are  not  high,  for 
Brighton  is  a  cosmopolitan  town,  and  all  tastes  have  to  be 
satisfied.  A  dozen  cartes  are  charged  fifteen  shillings,  and 
eighteen  one  guinea,  while  for  a  group  of  two,  half  as  much 
again  is  demanded.  For  a  guinea  you  have  six  cabinets,  and 
twelve  for  a  guinea-and-a-half . 


132 


STUDIOS  IN  ENGLAND. 


ME.  JABEZ  HUGHES  AT  EEGINA  HOUSE,  EYDE. 

The  "  regal  establishment  "  of  Mr.  Hughes,  its  square  white 
tower  rising  above  the  green  trees  of  Eyde,  is  not  unknown  to 
some  of  our  readers.  The  prominent  site  and  elegant  construc- 
tion— a  pile  of  Portland  stone  and  pale  brickwork — standing,  as 
it  were,  on  a  pedestal  in  the  middle  of  a  bright  little  town,  tell 
much  for  the  position  and  emoluments  of  photography  now-a- 
days  ;  and  approaching  from  the  pier,  one  hardly  knows  which 
to  admire  more,  the  straight  lofty  fabric,  or  the  idea  of  choosing 
such  a  beautiful  spot  as  Eyde  for  its  construction.  The  studio 
is  built  at  the  top  of  the  green  fringed  hill  upon  which  the  town 
stands,  and  in  consequence  Mr.  Jabez  Hughes  enjoys  the  un- 
alloyed satisfaction  that  his  light  cannot  be  interfered  with. 

There  is  surely  no  credit  in  making  pictures  in  such  a  pretty 
spot,  and  we  tell  Mr.  Hughes  so.  Look  at  those  garden-bordered 
quays,  and  the  sunlit  waves  dotted  with  yachtjsails  that  drive  like 
snow-flakes  over  the  blue  water ;  see  the  delicate  rigging  of  that 
big  ironclad,  the  Hercules,  running  down  the  Solent  on  her 
way  to  Portland  to  join  the  Channel  Fleet,  and  far-off  Osborne 
Point,  covered  with  yellow-green  foliage  that  seems  to  dip  down 
to  the  water's  edge.  Prom  here  you  can  just  see  the  twin  towers 
of  Osborne  House  rising  above  the  woodland  slope.  Now  turn 
round  and  look  across  over  the  strait  to  Portsmouth  town,  that 
lies  lit  up  in  the  sunshine  yonder,  between  the  low  grim  batteries 
by  the  harbour  ;  and  look,  too,  at  the  brown  hills  beyond,  with 
great  niches  of  white  where  the  chalk  quarries  are.  Glance 
your  eye  right  and  left  at  the  azure  sea,  and  the  tiny  black  forts 
jutting  out  of  the  water  like  "  beauty  spots  "  upon  the  face  of  a 
blue-eyed  belle.  The  Queen's  photographer  cannot  help  making 
beautiful  pictures  under  such  influences,  we  say,  though  'tis  true 
we  once  did  hear  of  another  reason  why  good  photographs  are 
taken  at  Eyde ;  it  was  given  us  by  a  mutual  friend — no  other 
than  Mr.  Toole,  the  comedian — and  he  told  us  it  was  because 
they  got  Hughes  to  it. 

We  walk  up  the  street  to  the  studio  in  company  with  our 
host,  and  enter  the  handsome  reception  room.  Here  is  something 
of  which  the  owner  of  Eegina  House  may  feel  even  more  proud 
than  of  anything  we  have  yet  noticed.  Every  carte  and  cabinet 
picture  is  printed  in  carbon.  Permanent  pigments  have  ousted 
silver  ones  in  Mr.  Hughes'  establishment,  and  the  countless  pic- 


* 


MR.  JABEZ  HUGHES. 


133 


tures  in  the  show  cases  are  all  of  them  carbon  prints.  "We 
believe  Mr.  Hughes  is  alone  in  being  able  to  make  the  proud 
statement  that  here  appears:  "  Every  portrait  is  produced  in 
permanent  photography,  and  will  never  fade." 

Mr.  Hughes  prints  by  a  chromotype  process  of  his  own — if 
'  chromotype  it  can  be  called,  when  the  prints  are  produced  un- 
glazed,  and  without  a  margin.  In  other  words,  the  negative  is 
not  reversed,  but  printed  upon  carbon  tissue,  which  is  developed 
on  collodionised  glass.  The  opal  plate  is  simply  rubbed  with 
Erench  chalk  before  the  collodion  is  applied,  and  then  there  is 
no  difficulty  about  separating  the  latter  when  it  comes  to  the 
transfer  process.  In  the  end,  the  glaze  upon  the  surface  is  re- 
moved with  moisture,  and  in  this  way  carbon  prints  are  secured 
quite  equal,  apparently,  to  those  by  the  single  transfer  method. 

"  I  have  said  I  always  employ  permanent  pigments  in  general 
work,"  said  Mr.  Hughes ;  "  but  that  is  not  strictly  true.  I  do 
print  from  my  negatives  with  the  fleeting  silver  process,  but  only 
the  unfixed  proofs  supplied  for  approval.  I  may  say,  therefore, 
that  I  utilize  in  their  proper  sphere  the  fading  as  well  as  the 
permanent  process."  Mr.  Hughes  turns  this  preliminary  print- 
ing in  silver  to  further  account,  for  it  affords  him  a  valuable 
criterion  of  the  density  of  his  negatives.  He  employs  Durand's 
paper,  which  is  very  uniformly  sensitive,  and  he  knows  that  his 
carbon  tissue  will  require  just  one-third  the  amount  of  printing 
that  is  necessary  for  albumenized  paper.  "While  on  the  subject 
of  printing,  Mr.  Hughes  also  said  a  good  word  for  platinotype, 
which  he  employs  for  special  work,  the  results  of  which  he 
likened  in  character  to  prints  upon  fine  salted  paper. 

As  to  reticulation  ?  we  asked.  Mr.  Hughes  would  admit  that 
lie  was  sometimes  troubled  with  this  defect,  but  not  frequently. 
There  were  two  kinds,  he  said  5  one  of  a  mechanical  nature, 
which  arose  possibly  from  a  tenderness  of  the  gelatine,  and  which 
could,  with  care,  be  kept  under  control,  the  use  of  spirit  being  a 
very  general  remedy ;  the  other  was  due  to  decomposition,  and  to 
cure  that  was  impossible.  He  preferred  keeping  his  carbon 
tissue  two  or  three  days  after  sensitizing ;  the  results  were  then 
much  more  uniform  and  certain. 

We  have  spoken  hitherto  of  the  general  work,  but  Mr.  Hughes 
has  also  a  speciality  in  the  shape  of  his  large  collodion  transfers. 
Indeed,  at  Eegina  House,  the  usual  order  of  things  is  reversed. 
While  the  small  work  is  all  printed  in  carbon,  the  large  is  done 


134 


STUDIOS  IN  ENGLAND. 


by  collodion.  Mr.  Hughes  assured  us  that  for  the  past  twelve 
years  he  had  taken  no  portrait  negative  bigger  than  a  cabinet ;  if 
larger  pictures  are  desired,  these  are  invariably  produced  by  the 
collodion  process.  The  upper  studio  at  Eegina  House  contains 
little  else  but  enlarging  cameras  for  this  kind  of  work.  There 
cannot  be  a  simpler  enlarging  process,  argued  our  host ;  the 
negative  is  simply  placed  in  the  camera,  and  an  enlarged  positive 
is  taken,  which  is  toned  and  worked  up  as  required.  In  other 
processes  you  have  a  transparency  to  prepare  and  work  up  ;  from 
that  you  produce  a  negative,  which  must  also  be  worked  up ; 
and,  finally,  when  you  have  secured  your  prints,  these  have  to 
be  worked  up  into  the  bargain. 

But  we  have  meanwhile  progressed  no  further  than  the  recep- 
tion room.  We  now  pass  on,  glancing  into  the  well-appointed 
aressing-rooms  on  our  way  to  the  forecourt  of  the  glass  room,  all 
of  which  aje  on  the  ground  floor,  with  a  garden  parallel  with 
the  studio.  It  is  delightful  to  linger  here,  especially  this  hot 
summer's  day.  There  are  ferns  and  fresh  ivy,  and  a  plashing 
little  fountain  among  the  rockwork  and  greenery.  Some  rustic 
garden  seats  are  at  hand,  and  altogether  the  cool  grotto-like 
aspect  of  the  place  is  exceedingly  pleasant.    But  we  cannot  afford 


to  lose  time,  and  enter  the  glass  room.  The  diagram  presents 
section  of  the  rooms,  and  will  enable  us  to  explain  the  mode 


MP..  JABEZ  HUGHES. 


135 


lighting.  The  lower  half  of  the  diagram  represents  the  end  of 
the  studio  on  the  ground-floor,  and  the  upper,  that  of  the  studio 
above  it.  The  portions  indicated  by  black  lines  comprise  the 
opaque  parts,  and  the  portions  indicated  by  lighter  lines  repre- 
sent the  glazed  parts.  In  each  instance  the  side-lights  are  of 
clear  glass,  and  top-lights  of  fine  corrugated  glass,  running  from 
end  to  end  of  each  room.  The  glass  is,  in  all  cases,  in  very  large 
panes.  Those  in  the  roof  of  the  lower  studio  are  7  ft.  4  in.  long 
by  2  ft.  wide,  the  panes  in  the  side-light  being  7  ft.  4  in.  long 
by  6  ft.  wide.  Those  in  the  roof  of  the  upper  studio  are  7  ft.  2  in. 
long  by  2  ft.  3  in.  wide ;  and  in  both  rooms  there  are  ready 
facilities  for  opening  the  windows,  so  as  to  secure  not  only  venti- 
lation, but  the  effect  of  open  air  lighting  uninterrupted  by  glass. 
The  only  blinds  required  are  curtains  running  on  a  rod,  so  as  to 
shut  out  portions  of  the  side-light  when  necessary.  It  will 
readily  be  seen  that,  with  such  a  flood  of  north  light,  working 
is  rapid  and  the  arrangement  convenient.  It  is  an  apartment  of 
handsome  dimensions,  measuring  35  feet  by  20,  and  it  is,  more- 
over, some  18  feet  high.  Its  size  is  the  more  striking  from  the 
fact  that  it  is  unencumbered  with  furniture.  The  lighting  is 
north,  and,  as  we  see  it  now,  the  only  illumination  that  enters 
is  a  high  side  light.  Above  is  an  ordinary  ceiling,  and  no  sky- 
light at  all ;  but  inasmuch  as  the  side  wall,  after  rising  some  ten 
feet,  slopes  inwards  towards  the  ceiling,  and  this  slope  is  glazed, 
sufficient  light  comes  in  to  give  a  soft,  subdued  illumination  all 
over  the  apartment.  This  upper  part  of  the  side  wail  is  covered 
in  with  dull  glass  of  a  greenish  hue,  known,  we  believe,  as 
"  Hartley's  patent  rolled,"  and  in  consequence  there  is  no  definite 
top  light,  as  would  certainly  be  the  case  if  clear  glass  were  em- 
ployed instead.  The  lower  part  of  this  north  side  of  the  studio 
is  also  glazed,  but  at  present  screened  with  thick  curtains,  which 
are  withdrawn  in  part  after  the  sitter  has  taken  his  place.  The 
light  that  enters  from  above  is  sufficient  to  illuminate  the  model 
over  all ;  side  light  is  then  employed  to  give  a  definite  effect,  to 
point  high  lights,  and  to  throw  shadows.  Not  a  ray  of  sunshine 
ever  enters  Mr.  Hughes'  studio,  so  admirably  is  it  constructed, 
while,  nevertheless,  its  illumination  is  so  perfect  that  the  most 
rapid  exposures  may  be  given.  The  full  advantage  of  all  this  is 
realised  when  we  remember  that  there  is  no  puffing  and  blowing 
to  climb  to  the  top  of  the  house,  and  no  sweltering  in  a  hot  glass 
room  when  you  arrive  there,  for  Mr.  Hughes'  studio  is  in  no 


136 


STUDIOS  IN  ENGLAND. 


sense  a  glass  room  ;  everything  is  cool  and  quiet,  with  a  pleasant 
look-out  on  the  garden  through  the  large  door- windows.  The 
studio  furniture  is  in  every  case  real.  Tables  and  chairs  are  of 
solid  oak,  while  couch  and  settee,  with  their  mouse-coloured 
velvet  coverings,  are  worthy  of  notice,  if  only  because  of  the 
excellent  carving  upon  them.  In  a  picture  they  appear  hand- 
some, for  the  simple  reason  that  they  are  handsome. 

We  next  visit  the  dark-rooms,  situated  behind  the  studio,  the 
distinguishing  feature  of  which  is  their  great  height,  for  they, 
too,  have  an  altitude  of  eighteen  feet.  Mr.  Hughes  has  him- 
self suffered  so  much  from  the  effects  of  photographic  vapours 
and  fumes,  that  he  determined,  in  the  construction  of  Eegina 
House,  to  make  thorough  ventilation  one  of  its  chief  characte- 
ristics. A  system  of  hot- water  pipes  pervades  the  whole  building, 
and  it  is  only  in  dining  and  drawing-rooms  that  mantel-pieces 
and  chimney-places  are  to  be  found.  A  hundredweight  and 
a  half  of  coal  daily  suffices,  by  these  means,  to  warm  twenty-five 
rooms. 

We  go  upstairs  to  the  printing-rooms.  The  carbon  tissue  is 
sensitized  here,  the  strength  of  the  bichromate  solution  varying 
from  three  to  five  per  cent.,  according  to  the  density  of  the 
negative  to  print.  The  drying  of  the  tissue  is  effected  in  a  dark 
cupboard,  from  which  the  air  is  exhausted  from  below ;  the 
sheets  hang  upon  laths  radiating  from  a  centre,  which  centre 
depends  from  a  roasting-jack,  and  is  thus  made  to  revolve.  In 
this  way  the  surfaces  of  the  sheets  are  exposed  freely  to  the 
air,  and  are  uniformly  dried.  Here  we  see  the  gelatine  process 
complete — gelatine  negatives  and  gelatine  prints  under 
manipulation. 

We  pass  to  the  upper  studio,  where  collodion  transfers  are 
prepared.  There  is  little  here  to  tell.  The  collodion  enlarge- 
ment is  projected  on  to  a  screen,  the  dark-room  itself  forming 
the  camera,  and,  after  development  and  fixing,  toned  with 
judgment  and  palladium.  To  judge  of  the  extent  of  toning,  the 
plate  is  turned  over  and  examined  from  the  back,  for  it  is  from 
this  side,  it  must  be  borne  in  mind,  that  the  print  will  eventually 
be  viewed.  After  stripping,  the  film  is  usually  covered  with  a 
bright  or  a  matt  varnish,  and  may  then  be  touched  little  or 
much,  as  circumstances  dictate. 

We  descend  to  the  mounting  and  retouching  rooms,  and  the 
negative  store-room,  where  countless  plates,  each  packed  in  a 


THE  KEW  OBSERVATORY. 


137 


paper  envelope,  are  ranged  in  rows  of  pigeon-holes.  " Billiard- 
room  at  Osborne,"  " Queen's  sitting-room,"  " Drawing-room, 5 ' 
we  read  upon  various  packages,  for  every  envelope  bears  outside 
the  name  of  its  negative.  Here  are  the  negatives  of  the  Princess 
Predrica  and  her  husband,  who  have  just  been  photographed  in 
bridal  attire  "  by  command  of  Her  Majesty,"  and  here,  too,  are 
the  pictures  of  Lord  Beaconsfield,  and  of  his  private  secretary, 
Lord  Rowton. 

We  may  mention,  in  conclusion,  the  terms  at  Regina  House 
for  cabinet  and  carte^pictures  in  carbon.  The  former  are  charged 
at  the  rate  of  a  guinea  and  a  half  per  dozen,  and  the  latter  at 
eighteen  shillings.  But  Regina  House  does  not  make  it  a 
practice  to  issue  a  printed  list  of  prices. 


THE  KEW  OBSERVATORY. 

When  George  III.  was  king,  and  the  good  old  monarch,  tired 
with  the  affairs  of  State,  betook  himself  into  retirement,  he  spent 
a  good  deal  of  his  time  at  an  observatory  he  built  for  himself  at 
Richmond.  It  was  a  sort  of  hermitage,  a  white  block  building 
standing  alone  in  the  green  vista  of  park-land  and  verdure,  and 
in  this  quiet  solitude  many  hours  in  the  evening  of  his  life  were 
passed.  Several  fine  telescopes  were  fitted  up  here  for  the  old 
king's  use,  and  with  a  few  congenial  companions  he  occupied 
himself  in  peering  into  the  heavens  and  watching  the  movements 
of  the  planets.  Some  said  that  the  king's  intellect  was  weak, 
and  that  this  last  predilection  of  his  for  the  moon  and  the  stars 
was  the  symptom  of  a  diseased  brain  ;  but  there  was  method  in 
his  madness,  if  madness  it  was,  and  the  scientific  men  of  to-day 
have  much  to  be  thankful  for  to  his  Majesty,  for  he  gave  them 
Kew  Observatory. 

The  telescopes  and  other  astronomical  instruments  are  no 
longer  to  be  found  at  Kew,  and  it  is  now  a  magnetical  and 
meteorological  observatory  par  excellence.  The  establishment 
is  under  the  charge  of  Mr.  W.  M.  Whipple,  and  a  more  efficient 
superintendent  it  would  be  difficult  to  secure.  Mr.  Whipple's 
duties,  as  we  shall  presently  see,  are  very  varied,  and  when  we 
add,  that  to  a  thorough  acquaintance  with  the  matters  with 
which  he  has  to  deal,  he  unites  considerable  tact  and  an  amiable 


133 


STUDIOS  IN  ENGLAND. 


and  courteous  disposition  towards  the  numerous  scientific  and 
general  visitors  who  call  at  the  Observatory,  we  have  said 
enough  to  prove  that  he  is  essentially  the  right  man  in  the 
right  place. 

The  Observatory  is  delightfully  situated.  A  few  minutes' 
walk  from  Richmond  station  you  pass  into  a  large  farm,  and 
once  through  this  farm  you  are  in  the  old  Deer  Park.  A  stretch 
of  green  meadowland  is  before  you,  and  more  than  a  mile  in 
front,  with  a  background  of  verdant  foliage,  is  the  white  Obser- 
vatory, the  clustering  trees  of  Kew  Gardens  to  your  right,  with 
the  quaint  Pagoda  rising  high  above  their  branches.  The  silver 
Thames  is  seen  here  and  there  on  the  margin  of  the  grounds,  and 
on  the  left,  among  the  yellow  green  boughs  of  oak  and  chestnut, 
is  the  bridge  that  spans  the  river  near  Richmond.  Afar  off  is  a 
trim  lawn  that  has  been  turned  into  a  cricket  field,  and  tiny 
forms  in  white  are  rushing  about  in  the  sunshine  ;  while  close 
at  hand,  in  deep  contrast,  is  a  black  spreading  cedar,  in  the 
shadow  of  which  the  brown  cattle  are  lazily  feeding. 

In  no  other  establishment  can  "better  proof  be  afforded  of  the 
aid  photography  lends  to  science.  The  art  is  here  the  hand- 
maiden to  half-a-dozen  branches  of  science,  and  excellently 
well  does  it  perform  yeoman  service.  Day  and  night  photo- 
graphy notes  the  temperature  of  the  air,  the  pressure  upon  the 
barometrical  column,  the  electric  condition  of  the  atmosphere, 
and  the  magnetical  disturbances  that  take  place  in  our  mighty 
earth.  A  camera  is  ever  busy  watching  the  motion  of  a  pencil 
of  light  which  moves  with  every  slight  meteorological  change, 
thus  securing  a  record  valuable  to  the  world  at  large.  Kew  is 
in  connection  with  seven  other  observatories  in  Great  Britain, 
and  with  more  than  twenty  situated  throughout  the  world,  and 
at  each  and  every  one  of  these  stations  observations  go  on  simul- 
taneously, which  are  of  the  utmost  importance  for  comparison. 
In  far-off  China  an  observatory  has  been  established,  and  Mr. 
"Whipple  showed  us  the  first  record  just  received  from  that 
distant  station. 

"We  will  turn  our  attention  to  the  thermometer  first.  The 
photographic  record  in  this  case  is  termed  a  thermogram,  and 
here  is  a  representation  of  one. 

The  upper  line  is  the  record  of  an  ordinary  thermometer,  the 
lower  of  a  wet  bulb  thermometer.  The  zig-zag,  as  it  rises  and 
falls,  indicates  rise  and  fall  of  temperature,  and  the  time  of  day 


THE  KEW  OBSERVATORY. 


139 


is  given  by  the  figures  above.    The  exact  value  of  these  zig-zags 


A.M.  p.M# 

2    4    6    8    10    noon.         2    4    6    8    10  midnight. 


or  curves,  in  degrees,  is  at  once  found  by  placing  over  the 
thermogram  a  glass  plate  upon  which  are  engraved  certain 
lines  and  cross-lines ;  these  lines  constitute  the  key,  and  show 
at  once  the  value  of  a  curve  half  or  a  quarter  of  an  inch  ia 
height. 

"Now  let  Us  look  at  the  instrument  in  action.  We  enter  a 
quiet  darkened  room,  in  which  two  shaded  lamps  are  burning. 
We  can  see  but  a  portion  of  the  thermometer,  but  it  is  just  that 
portion  we  want  to  see.  It  is  somewhat  different  to  an  ordinary 
thermometer.  The  column  is  of  mercury,  and  there  is  a  little 
bubble  in  the  column  which  moves  up  and  down  as  the  tempe- 
rature varies.  The  thermometer,  therefore,  presents  a  perfectly 
opaque  body,  except  where  the  bubble  is.  Light  from  a  lamp 
shines  upon  the  instrument,  and,  as  a  necessary  consequence,  the 
light  is  seen  coming  through  the  bubble  as  it  would  through  a 
window.  At  every  change  of  temperature,  therefore,  this  little 
spot  of  light  rises  and  falls.  Now  the  camera  comes  into  play. 
It  is  an  ordinary  lens  and  camera,  except  that,  instead  of  a  sensi- 
tized plate,  there  is  a  cylinder,  round  which  sensitized  paper  is 
rolled.  The  back  of  the  camera  is  opened,  and  we  see  a  tiny 
bright  spot  upon  the  sensitized  paper,  the  spot  representing  the 
bubble  of  the  thermometer.  There  is  a  clockwork  movement 
attached  to  the  cylinder,  and  the  sensitized  paper  thus  gradually 
moves,  the  pencil  of  light  making  its  mark  the  while. 

At  the  end  of  twenty-four  hours,  or  forty-eight,  as  the  case 
may  be,  when  the  cylinder  has  made  one  revolution,  the  sensitive 
paper  is  taken  out  of  the  camera,  and  carried  to  the  developing 
room,  where  a  zig-zag  line  or  curve  is  developed,  indicative  of 
the  rise  and  fall  of  temperature  during  the  past  twenty-four 
hours. 

The  rising  and  falling  of  the  barometrical  column  is  written 
down  by  a  camera  in  something  after  the  same  fashion,  but  we 
have  to  descend  deep  down  into  the  basement  to  see  this  camera, 


140 


STUDIOS  IN  ENGLAND. 


at  work,  so  that  the  mercury  column  may  be  affected  as  little  as 
possible  by  variation  of  temperature.  In  company  with  the 
barograph,  in  this  cellar-like  apartment,  are  three  magnetical 
instruments,  with  cameras  attached.  These  record  the  magne- 
tical disturbances  of  the  earth.  The  light  in  all  these  cases  is 
obtained  from  argand  gas-burners,  and  the  moving  pencil  of 
rays  is  sent  from  a  tiny  mirror  poised  upon  the  magnetic  needle. 
According  as  the  magnets  are  pivoted,  so  they  tell  of  the  different 
forces  in  action— declination-force,  horizontal-force,  and  vertical- 
force.  Magnetical  currents,  even  of  a  delicate  nature,  passing 
through  the  earth,  are  not  without  action  upon  these  delicately- 
swung  magnetic  needles,  and  if  the  needle  is  affected  in  the 
least  degree,  the  mirror  in  like  manner  moves,  and  thus  the 
pencil  of  light  is  moved  also.  Revolving  cylinders,  covered 
with  sensitive  paper,  here  also  record  the  movements  during  the 
twenty-four  hours. 

Records  of  this  nature  were  first  made  at  Kcw  as  far  back  as 
1858,  and  these  were  preceded  by  experiments  several  years 
earlier,  in  the  days  of  Daguerreotype.  In  1858,  too,  Kew  first 
began  to  take  its  solar  photographs,  which  have  since  become 
so  famous.  Prom  1858  until  1871  a  photograph  of  the  sun  was 
taken  almost  daily,  and  the  assistants  at  the  establishment  are 
said  to  have  made  no  less  than  5,000  measurements  of  sun's 
spots.  As  may  be  supposed,  the  Kew  astronomical  photo- 
graphers possess  some  experience  now  in  the  matter,  and  they 
still  incline  to  the  use  of  wet  plates  for  such  work.  To  be  of 
any  value,  a  solar  picture  must  be  under-exposed  and  under- 
developed (in  ordinary  photographic  parlance),  and,  moreover,  it 
should  not  have  a  sharp  disc-like  appearance  ;  on  the  contrary, 
towards  the  limb  the  sun-picture  should  gradually  soften.  The 
Transit  of  Venus  photographs  did  not  prove  so  successful  as  they 
might  have  been,  because  they  did  not  comply  with  these 
preliminary  conditions. 

The  hours  of  sunshine  during  the  day  are  also  recorded  at 
Kew.  Sunshine,  however,  only  writes  itself  down  when  it  it 
strong  enough  to  char  paper  with  the  aid  of  a  burning-glass. 
Sunshine  that  is  at  all  hazy,  or  sunshine  in  the  early  morning 
and  towards  sunset,  when  it  has  little  power,  is  not  recorded. 
The  instrument  is  very  simple.  In  order  to  have  a  burning- 
glass  that  will  act  all  day,  a  crystal  globe  is  employed,  three 
inches  in  diameter.    This  is  placed  on  the  roof  of  the  Observatory, 


THE  KEW  OBSERVATORY. 


141 


and  around,  but  not  touching  it,  in  a  sort  of  bowl,  is  a  blue 
strip  of  paper.  This  paper  is  in  the  focus  of  the  globe,  and  when 
the  sun  shines  a  pencil  of  light  chars  the  card  to  the  extent  of  a 
pin's  head.  If  the  sun  goes  on  shining  all  day,  the  hot  ray  of 
light  travels  gradually  round  the  interior  of  the  bowl,  charring 
a  line  upon  the  paper ;  if  the  sun  comes  out  by  fits  and  starts, 
the  burnt  line  is  not  continuous,  but  appears  at  intervals.  At 
the  end  of  the  day,  the  card  strip  is  removed ;  it  is  divided  into 
sections  to  represent  hours,  and  it  is  apparent  how  long  and 
when  the  sun  shone  during  the  day. 

We  have  not  time  here  to  refer  to  the  good  work  done  by 
Mr.  Whipple  and  his  assistants  at  Kew  in  respect  to  the  testing 
of  barometers  and  thermometers  by  the  standards  that  are  kept 
here;  but  we  must  just  say  a  word  upon  the  photographic 
paper  that  is  prepared  at  the  Observatory.  The  process  em- 
ployed is  a  modification  of  the  Calotype  method,  and  very 
similar  to  that  made  use  of  at  the  Eoyal  Observatory  at  Green- 
wich. The  paper  is  of  very  fine  structure,  and  transparent,  so 
that  a  second  sheet  may  be  rolled  upon  the  cylinder,  and  a 
duplicate  record  secured.  It  is  treated  with  iodide  and  bromide 
of  potassium,  sensitized  on  a  strong  silver  bath  that  contains  a 
little  acetic  acid.  The  development  is  effected  slowly  by  the 
aid  of  gallic  acid,  the  sheet  being  placed  upon  a  glass  plate  and 
the  developer  poured  over  it,  sufficient  of  the  solution  being 


absorbed  for  the  operation.  Sometimes  three  hours  is  taken  up 
in  development.    The  only  difficulty  that  occasionally  bothers 


142 


STUDIOS  IN  ENGLAND. 


the  observers  is  the  tendency  of  the  paper  to  blacken,  arising, 
Mr.  "Whipple  believes,  from  the  ozone  in  the  atmosphere. 

The  late  Mr.  C.  Brooke,  E.R.S.,  was  the  first  to  construct  a 
photo-magnetic  recording  instrument.  His  principle  is  shown  in 
annexed  cut,  in  which  a  represents  a  part  of  a  bar  magnet ;  b  a 
concave  mirror,  resting  on  a  stirrup  firmly  attached  to  the  sus- 
pension apparatus,  the  whole  being  supported  by  a  single  thread  ; 
c,  an  ebonite  cylinder  wrapped  round  with  photographic  paper ; 
d  a  plano-convex  lens  ;  e  a  lamp  placed  a  little  out  of  the  line 
which  joins  the  centres  of  the  cylinder  and  magnet  in  operation. 
A  pencil  of  light  passes  from  c  through  a  very  narrow  aperture, 
diverges  and  spreads  over  the  mirror  b,  from  which  it  is  reflected, 
and  diverges  to  the  lens  d,  and  is  condensed  into  a  well-defined 
spot  of  light  at  the  surface  of  the  paper.  The  action  of  the  spot 
upon  the  photographic  paper  is  to  leave  a  trace,  which  is,  how- 
ever, imperceptible  until  subsequently  revealed  by  the  applica- 
tion of  a  developing  solution. 


MR.  ROBEET  SLINGSBY  AT  LINCOLN. 

Thebe  is  this  difference  between  photographic  studios  of  England 
and  those  on  the  continent.  In  the  latter,  the  capitals  appear 
t )  absorb  all  the  best  photographers ;  in  the  former,  men  in 
the  first  rank  are  to  be  found  as  well  in  the  provinces  as  in 
town.  Mr.  H.  P.  Robinson,  of  Tunbridge  "Wells ;  Mr.  Jabez 
Hughes,  of  Ryde  ;  Mr.  J.  E.  Mayall,  at  Brighton ;  and  Mr. 
Slingsby,  of  Lincoln,  are  examples  of  this.  Good  work  steadily 
makes  its  way,  no  matter  where  it  is  executed,  and  if  only 
photographers  had  the  advantage  of  exhibiting  their  pictures  in 
public  a  little  more,  their  claims  as  artists  would  soon  be 
undisputed.  They  will  not  be  long  without  this  advantage, 
and  it  may  be  well  to  record  here  the  success  that  has  been 
attained  already  by  a  single  photograph,  with  the  limited 
publicity  at  present  at  our  disposal.  We  speak  of  "  Alone,"  a 
picture  that  has  drawn  more  criticism,  laudatory  and  hostile, 
than  any  yet  produced  by  the  camera.  When  we  visited 
Mr.  Slingsby,  at  Lincoln,  he  was  still  busy  printing  "[Alone," 
and  he  will  apparently  be  condemned  to  go  on  with  the 


MR.  ROBERT  SLINGSBY. 


143 


work  as  long  as  the  negatives  last.  The  composition  is  well 
known;  a  placid  sea  washes  the  foot  of  some  white  sand- 
hills, and,  in  the  foreground,  alone,  is  a  dainty  little  lady  in 
summer  costume.  One  hardly  knows  which  to  admire  most,  the 
rare  charms  of  the  maiden,  the  bright  seashore  that  stretches 
along  the  picture,  or  the  smooth  hillocks  of  sand,  so  fine  and 
silvery  that  you  long  to  pass  it  through  your  lingers.  Mr. 
Slingsby  has  had  no  rest  since  he  exhibited  that  picture  on  the 
walls  at  Pall  Mall.  It  mattered  little  whether  it  was  produced 
at  Lincoln  or  Timbuctoo,  said  Mr.  Slingsby  to  us:  "Only  one 
copy  has  been  sold  at  Lincoln,  and  that  was  never  paid  for." 
But  no  picture  produced  by  the  camera  has  ever  brought  its 
originator  such  substantial  reward,  the  sum  already  paid  being 
more  than  that  fetched  by  many  a  clever  painting  exhibited  at 
the  Eoyal  Academy.  In  the  words  of  an  official  accountant, 
we  may  say  that  we  have  examined  Mr.  Slingsby's  books,  and 
find  that  £450  has  already  been  received  on  account  of  "Alone," 
and  the  popularity  of  the  picture  seems  to  be  increasing  rather 
than  on  the  wane.  This  fact  will  be  of  interest  to  many,  we 
are  sure,  if  only  to  prove  that  an  artist  can  .make  it  pay  to  do 
pictures  by  photography  just  as  well  as  with  brush  or  crayon. 

Mr.  Slingsby  has  established  a  very  good  rule  with  regard  to 
his  visitors.  He  has  two  studios ;  they  are  on  the  same  floor, 
and  divided  only  by  a  laboratory.  One — the  further  and  larger 
one — is  marked,  "Mr.  Slingsby's  Studio;"  the  other,  "No.  2 
studio."  In  the  first,  our  host  himself  is  to  be  found ;  in  the 
other,  an  assistant  rules.  In  a  city  like  Lincoln  there  is, 
naturally  enough,  a  good  deal  of  second-class  work  to  be  done, 
"  and  there  is  no  reason,"  says  Mr.  Slingsby,  "why  I  should 
send  sitters  away."  Everybody  in  Lincoln  cannot  afford  to  pay 
high  prices ;  the  second  studio,  therefore,  suits  a  large  number 
of  customers,  while  those  who  desire  the  services  of  Mr.  Slingsby 
himself  are,  of  course,  called  upon  to  pay  for  them.  All 
proofs  are  sent  out  untoned.  "It  has  taken  several  years  to 
educate  our  customers  to  untoned  prints,"  says  our  friend,  "but 
that  is  now  our  invariable  rule."  The  advantages  of  such  a 
rule  are  so  obvious  that  it  is  a  wonder  all  photographers  do  not 
adopt  it. 

Panel  or  promenade  portraits  are  the  "new  style"  in  Mr. 
Slingsby's  studio,  who  has  deemed  it  worth  his  while  to  "go 
in"  for  a  new  lens  expressly  for  them — the  3a  Dallmeyer,  an 


144 


STUDIOS  IN  ENGLAND. 


instrument  that  requires  an  interval  of  from  sixteen  to  eighteen 
feet  between  camera  and  sitter.  The  principal  studio  is  built 
on  his  own  model ;  it  has  a  northerly  aspect,  measures  forty  feet 
in  length,  and  is  glazed  with  transparent  glass.    The  roof  is 


steep,  the  centre  being  sharply  depressed,  as  if  a  hugc~notch 
had  been  cut  into  it,  a  plan,  we  believe,  that  Mr.  Slingsby 
originally  patented.  In  this  way  rather  more  front  light  is 
thrown  upon  the  sitter,  whether  he  is  posed  at  one  end  of  the 
room  or  the  other.  Mr.  Slingsby  has  an  arrangement  whereby 
white  linen  blinds  can  be  drawn  over  one  part  or  other  of  his 
glass  roof ;  but  he  prefers  to  work  with  large  squares  of  bare 
glass,  and  then  bring  close  to  the  sitter  a  gauze  screen,  or, 
rather,  a  frame  over  which  fine  muslin  is  stretched.  These 


MR.  KOBEKT  SLING  SB  Y. 


145 


screens,  which,  are  about  three  feet  broad,  take  the  roof  form  of 
the  studio ;  that  is  to  say,  they  consist  of  an  upright  frame  about 
eight  feet  in  height,  and  another  frame  above,  bending  inwards 
with  the  line  of  the  roof,  measuring  another  three  or  four  feet. 
They  are  obviously  very  practical,  for  they  can  be  placed  close 
to  or  far  away  from  the  sitter  at  will,  and  thus  modify  the 
illumination.  Mr.  Slingsby  believes  much  in  the  mobility  of 
screens  and  backgrounds.  The  latter  he  stretches  on  frames, 
but  does  not  fix.  He  prefers  to  be  able  to  adjust  them  as  he 
pleases,  and,  by  inclining  them  slightly  towards  or  against  the 
light,  to  modify  their  character.  You  can  get  all  sorts  of  back- 
grounds and  accessories,  but  choosing  them  is  a  difficult  matter. 
Photographers  frequently  overdo  it  by  selecting  backgrounds  of 
too  florid  a  character,  with  far  too  much  park  and  ornamental 
waters  about  them ;  while  accessories — whether  balconies, 
balustrades,  columns,  or  pedestals — appear  usually  too  smooth 
and  finely-finished  in  the  picture.  Mr.  Slingsby  has  made  a 
very  happy  selection,  to  judge  from  the  subdued  results  in  his 
pictures,  and,  although  he  employs  aids  of  this  kind  without 
stint,  they  have  none  of  that  superfine,  brand-new  appearance 
which,  it  may  be  remembered,  was  a  feature  of  the  Veneering 
household  described  in  Our  Mutual  Friend. 

"We  need  say  little  of  the  laboratory,  except  that  it  is  one  of 
the  lightest  dark  rooms  we  have  ever  entered.  For  the  purpose 
of  adapting  it  to  gelatine  work,  Mr.  Slingsby  employs  a  screen 
made  of  two  thicknesses  of  deep  ruby  tissue  paper  stained  witli 
aurine.  The  hyposulphite  bath  for  fixing  is  very  conveniently 
stowed  away ;  a  handy  counter  is  at  the  right  hand  of  the  window^ 
which  serves  to  rest  plates  or  developing  dishes  upon ;  and  when 
a  plate  is  to  be  fixed,  a  flap  door  in  this  counter  is  lifted,  the 
plate  lowered  into  the  bath,  and  the  trap  shut  down  again. 
Mr.  Slingsby  has  also  several  cupboards  with  drop  doors,  which 
are  exceedingly  handy  for  putting  plates  temporarily  away  from 
the  light  in  these  days  of  gelatine  work.  The  ordinary  table 
drawer  is  a  very  inconvenient  thing  for  a  hiding  place,  as  every- 
body knows.  a  "We  must  have  better  means  of  getting  intensity 
in  our  plates,  though/ '  says  Mr.  Slingsby,  "  if  we  are  to  work 
gelatine  regularly  for  portraiture. " 

In  the  printing  room,  among  other  work,  we  saw  the  four  big 
frames  required  for  the  printing  of  "  Alone."  The  negatives 
are  stopped  out  with  ordinary  black  varnish.    K"o.  1  pressure 

L 


146 


STUDIOS  IN  ENGLAND. 


frame  contains  the  portrait  negative  cemented  fast  to  a  twenty- 
four  inch  glass  plate ;  No.  2  has  the  foreground  similarly 
cemented  down,  which  really  consists  of  two  negatives ;  No.  3 
has  the  white  sandhills ;  and  No.  4  the  sky.  The  last  requires 
the  most  attention,  and  is  the  only  one  that  calls  for  our  host's 
personal  care.  "  Ready  for  a  change,  sir,"  sings  out  the  printer, 
when  the  turn  of  No.  4  frame  comes,  and  then  the  delicate  task 
of  printing  in  the  sky  has  to  be  performed  by  the  principal.  It 
was  the  foreground  of  this  picture,  however,  that  gave  Mr. 
Slingsby  most  anxiety  when  it  was  taken,  for  two  cart-loads  of 
stones  had  to  be  carried  to  the  foot  of  the  sand-hills  in  order  to 
break  the  line  of  the  view. 


AT  SARONY  SQUARE,  SCARBOROUGH. 

A  jotteney  of  nearly  500  miles,  undertaken  for  the  sole  purpose 
of  visiting  a  studio,  is  no  little  matter,  even  in  these  days  of 
fast  through  trains  and  comfortable  carriages ;  but  we  may  say 
at  the  outset  that  a  peep  at  the  Sarony  establishment  at  Scar- 
borough is  well  worth  a  few  hours'  hard  travelling.  In  any 
case,  we  fear  it  would  be  hopeless  to  enlist  the  sympathies  of 
the  reader  in  our  behalf ;  for,  after  all,  a  couple  of  days  spent 
at  the  queen  of  watering-places  during  warm  autumn  weather, 
just  as  the  outbursts  of  sunshine  are  getting  few  and  far  between, 
and  it  behoves  one  to  make  the  most  of  them,  can  scarcely  be 
termed  a  grave  hardship.  We  shall  say  nothing,  therefore, 
of  our  swift  journey  down  north,  of  a  two  hours'  halt  at  York 
for  dinner,  and  a  peep  at  the  Minster  ;  its  massive  roof  so  clearly 
lit  that  every  trait  and  niche  in  the  white  stone  is  plainly 
visible,  and  its  magnificent  windows — especially  "The  Five 
Sisters  of  York,"  endeared  to  us  by  Dickens'  charming  legend — 
which  are  among  the  finest  in  the  world.  Nor  shall  we  enlarge 
on  our  first  glance  at  Scarborough,  as  we  looked  down  upon  it 
at  night,  from  the  high  cliffs,  and  saw  below  the  glittering  lights 
of  the  Spa  Gardens,  the  curved  quay  studded  with  lanterns,  the 
illuminated  bridge  and  grand  hotel  opposite,  and  far  away  at 
the  further  sweep  of  the  bay,  the  outline  of  castle  and  hill 
dimly  visible  in  the  twilight.    These  and  other  matters  we 


AT  SARONY  SQUARE. 


147 


must  be  silent  about,  if  we  do  not  wish  the  reader's  sympathy 
to  turn  into  absolute  envy. 

Imagine  a  well-built  square  of  white  houses  in  a  fashionable 
■  part  of  the  town.  The  garden  of  the  square  is  protected  with 
handsome  railings ;  there  are  green  shrubs  and  trees  in  the 
vicinity  of  the  railings,  and,  for  the  rest,  a  well-kept  lawn  decked 
with  flower-beds,  and  intersected  with  brown  gravel  walks.  In 
the  centre  of  this  garden  is  the  Sarony  establishment.  It  is  a 
solid,  oblong  building,  Grecian  in  style,  and,  at  a  rough  guess, 
120  feet  long.  The  building  is  white,  with  cream-coloured 
-corner  stones,  and  a  broad  flight  of  steps  at  either  end  of  the 
building  form  a  fitting  entrance.  "We  go  in  by  the  eastern  door 
— the  threshold  guarded  by  a  pair  of  lions  rampant — the  aspect 
of  the  interior  being  more  that  of  a  public  establishment  than  a 
private  one;  indeed,  as  we  soon  discover,  the  Sarony  Gallery  is 
one  of  the  sights  of  Scarborough.  Visitors  may  come  and  go 
any  hour  between  nine  and  five ;  and  beyond  the  many  pro- 
ductions of  a  photographic  nature  on  view,  there  is,  on  the  floor, 
a  fine  collection  of  paintings,  for  the  most  part  the  work  of 
P.  Jones  Barker,  the  painter,  it  may  be  remembered,  of  "  The 
Allied  Generals  before  Sebastopol,"  a  well-known  picture  that 
has  been  engraved  and  extensively  sold  by  Messrs.  Graves,  of 
Pall  Mall.  "  The  Charge  of  the  Light  Brigade, "  by  Mr.  Barker, 
now  occupies  a  post  of  honour  in  the  Sarony  Gallery,  and  there 
are  other  noteworthy  paintings  and  portraits  which  make  the 
fine  hall  a  point  of  attraction  and  fashionable  lounge  with  the 
visitors  to  this  favoured  spa. 

But  we  have,  as  yet,  got  no  further  than  the  corridor.  On 
the  right  hand  is  the  business  department,  where  a  specimen  of 
every  form  of  portrait  may  be  seen.  Here  we  are  met  by  Mrs. 
Sarony,  who  is  good  enough  to  give  us  a  hearty  welcome,  and 
by  Mr.  Pisher,  one  of  the  managers,  in  whose  company  we  are 
to  make  a  round  of  the  premises.  Mr.  Fisher  tells  us  that  the 
Promenade,  or  Panel  portrait,  has  taken  very  firm  root  at  Scar- 
borough, being  the  favourite  picture  of  the  season ;  and  while 
in  the  business  department,  we  may  mention  that  the  charge 
made  for  promenade  portraits  is  one  guinea  for  five  plain  por- 
traits, or  four  vignetted  and  enamelled;  for  in  the  Sarony 
establishment  enamelled  pictures  are  still  in  favour,  and  sitters 
readily  pay  a  larger  sum  for  the  extra  finish  imparted  by  a 
glaze  of  gelatine  and  collodion.  Cartes-de-visite  are  charged 
six  for  half -a- guinea,  or  twenty  for  a  guinea. 


148 


STUDIOS  IN  ENGLAND. 


We  walk  along  the  corridor.  On  the  right,  as  we  proceed, 
are  the  reception  and  waiting  rooms.  These  are  magnificent. 
Handsomely  furnished,  more  after  the  style  of  a  French  salon  than 
an  English  drawing  room,  the  apartments  are  the  embodiments 
of  good  taste  and  costly  elegance.  Eich  divans  and  velvet 
lounges,  lofty  mirrors  and  gilded  tables,  attract  the  eye  on  all 
sides  ;  pictures  are  on  every  wall,  and  one  of  the  salons  contains 
a  collection  of  most  exquisite  water-colours.  Two  studios  lead 
out  of  these  reception  rooms  on  the  ground  floor,  and  here  most 
of  the  portraits  are  taken,  for  although  there  are  other  glass  rooms 
above,  the  sitter  is  not  troubled  to  ascend,  unless  it  is  absolutely 
necessary. 

We  go  through  the  door  of  one  of  the  salons  and  enter  the 
studios.  They  are  both  lighted  from  the  north.  In  the  middle, 
where  they  join,  the  cameras  are  placed,  and  the  dark  rooms 
are  situated.  Thus  two  sitters,  taken  at  the  same  time,  sup- 
posing there  were  no  division  between  the  studios,  would  be 
facing  one  another.  In  this  way,  husband  and  wife  can  be 
secured  from  different  aspects,  while  yet  lighted  from  the  north, 
and  an  assistant  can  operate  indifferently  in  one  studio  or  the 
other  without  altering  the  conditions  of  his  working.  The 
studios  strike  one  as  very  different  to  those  usually  met  with. 
They  are  small,  low-roofed,  sombre,  and  cool :  and  as  we  look 
at  them,  we  call  to  mind  the  predilection  for  low  studios  that 
has  of  late  years  manifested  itself,  among  Berlin  photographers 
especially.  In  a  word,  the  Sarony  studios  are  the  very  opposite 
to  what  glass  rooms  usually  are.  The  rooms  are  painted  a 
French  grey,  which  looks  the  darker  by  reason  of  the  absence 
of  height.  On  the  light  side,  the  curtains  are  drawn  from  the 
end  of  the  studio  up  to  a  line  with  the  sitter ;  then  comes  an 
area  of  six  or  eight  feet  square  of  plain  glass,  usually  covered 
with  gauze,  while  in  the  rest  of  the  studio,  in  front  of  the 
sitter,  the  light  is  exceedingly  subdued.  At  the  camera  end  of 
the  studio  it  is,  indeed,  comparatively  gloomy,  so  that  the  assis- 
tants may  enter  the  dark  rooms  which  adjoin  (and  which  serve 
for  both  studios)  without  inconvenience  to  themselves  or  the 
operations  they  may  be  conducting.  There  is  provision  for  top- 
light,  but  little  use  is  made  of  it,  the  illumination  here  being 
kept  under  control  by  a  sort  of  Venetian  blind  arrangement 
placed  horizontally — or  nearly  so — upon  the  roof. 

At  first  sight  there  is  apparently  not  much  room  for  back- 


AT  SARONY  SQUARE. 


149 


grounds — they  are  all  Seavey's — in  these  small  studios  ;  but  on 
looking  nearer,  we  find  ample  provision  has  been  made  in  this 
respect.  The  backgrounds  are  ingeniously  contrived  to  rise  from 
below,  and  so  well  balanced  are  they,  that  with  one  hand  you 
can  change  the  scene  without  difficulty.  The  accessories  in  use 
are  very  few,  and  none,  we  were  glad  to  see,  had  that  highly- 
polished,  glace  aspect,  which  is  so  much  in  favour  with  many 
makers  of  these  articles. 

At  the  entrance  we  remarked  a  huge  tabular  statement  of  all 
the  rooms  in  the  building,  and  these  we  now  proceed  to  visit. 
In  the  corridors,  on  the  staircases,  and  in  many  of  the  rooms,  the 
window  panes  are  photographic  transparencies,  not"  only  of  sub- 
jects direct  from  nature,  but  of  paintings,  prints,  &c,  whose 
appearance  is  exceedingly  attractive.  Here,  on  this  floor,  is  a 
series  of  artists'  rooms;  here  is  an  apartment  with  rows  upon 
rows  of  opals  in  a  more  or  less  finished  condition  ;  here  are  the 
retouching  rooms ;  here  enlargements  on  canvas.  At  the  Sarony 
establishment  all  enlargements  on  canvas  are  made  in  silver,  and 
on  expressing  a  desire  to  see  the  process  in  operation,  we  are 
forthwith  ushered  up  to  the  second  floor.  u  The  great  thing  in 
the  preparation  of  the  canvas  is  to  wash  with  plenty  of  water," 
said  our  guide ;  "but,  of  course,  it  is  necessary  to  remove  to  the 
last  degree  any  pigment  or  preparation  that  may  have  previously 
been  applied.' '  As  we  enter,  a  canvas  is  in  process  of  sensitizing. 
It  is  resting  upon  a  board,  its  four  corners  fixed  up  with  clips,  so 
as  to  form  a  tray ;  it  has  previously  been  treated  with  equal 
parts  of  bromide  and  iodide  by  way  of  "  salting,"  and  it  is  now 
under  the  action  of  a  thirty-grain  solution  of  nitrate  of  silver. 
In  its  position  upon  the  board  the  canvas  may  be  handled  at  will, 
and  presently  the  bath  is  poured  off,  and  the  fabric,  wet  as  it  is, 
stretched  for  printing.  A  Monckhoven  enlarging  apparatus, 
sunshine  being  employed  as  the  illuminating  agent,  projects  a 
magnified  image  upon  the  canvas,  and  in  two  minutes  the  latter 
is  ready  for  development.  It  is  taken  down,  placed  once  more 
upon  the  board,  the  corners  clipped  as  before,  and  the  developer, 
containing  equal  parts  of  citric  acid  and  pyrogallic  acid,  poured 
over.  The  development  is  complete  in  about  five  minutes,  and 
then  a  solution  of  salt  and  water  is  poured  on ;  the  fixing  may 
be  at  once  proceeded  with,  or  may  be  postponed  almost  inde- 
,  finitely,  as  may  seem  best. 

"We  now  proceed  to  the  basement,  where  are  the  workshops, 


150 


STUDIOS  IN  ENGLAND. 


the  negative  rooms,  the  enamelling  and  printing  rooms.  Two 
little  points  in  the  printing-room,  scarcely  very  novel,  perhaps, 
are  still  worth  noting.  To  secure  faultless  prints  from 
a  cracked  negative,  it  is  put  at  the  bottom  of  a  narrow 
box,  two  feet  deep,  with  blackened  sides;  a  sheet  of  tissue 
paper  is  then  dropped  upon  the  face  of  the  printing-frame, 


and  the  box  carried  out  of  doors,  where,  obviously,  only 
parallel  rays  can  reach  the  plate.    This  method,  according  to 


AT  SARONY  SQUARE. 


151 


Mr.  Fisher,  is  the  simplest  way  of  treating  cracked  negatives, 
and  that  it  is  a  perfectly  efficient  one,  we  can  testify.  The  other 
point  is  the  method  of  vignetting  adopted.  A  very  great  deal 
of  vignette  printing  is  done,  and  a  quick  and  effective  plan  is, 
therefore,  very  necessary.  It  would  never  do  to  issue  a  faulty 
vignette  bearing  the  name  of  Sarony.  The  printing  in  the 
summer  is  all  done  under  frosted  glass,  and  in  these  circumstances 
very  delicate  tones  are  obtained.  The  vignette  masks  are  made 
in  a  very  ready  manner ;  a  piece  of  thin  cardboard,  the  size  of 
the  printing-frame,  has  cut  out  of  it  a  pear-shaped  opening  the 
size  of  the  bust  or  figure,  and  round  the  circumference,  or  mar- 
gin, of  the  opening  are  punched  holes,  all  of  the  same  size, 
exactly  as  shown  in  our  cut  (p.  150).  If  one  part  of  the  pic- 
ture requires  to  be  printed  a  little  more,  a  few  extra  holes  are 
here  punched  in  the  cardboard.  This  is  then  fixed  upon  the 
top  of  the  printing-frame,  being  about  half  an  inch  above  the 
negative ;  and  so  diffused  is  the  light  that  passes  the  mask,  and  so 
well  is  this  contrived,  that  the  most  delicate  gradation  is  produced 
without  the  printer  being  at  the  trouble  of  once  moving  the 
frames  during  printing.  "With  a  punch  at  hand,  a  vignette  mask 
of  this  kind  is  fashioned  in  a  few  seconds. 

A  very  highly  albumenizecl  paper  is  employed  at  the  Sarony 
establishment,  and,  in  reply  to  a  question  on  our  part  as  to  the 
occurrence  of  blisters,  these,  the  chief  printer  told  us,  were 
generally  found  to  be  due  to  the  employment  of  too  strong  a 
silver  solution.  The  defects  usually  disappeared  on  weakening 
the  bath.  The  washing  of  the  prints  is  conducted  in  circular 
troughs  with  a  syphon  arrangement.  Messrs.  Sarony  and  Co., 
of  ScarboiV,  have  recently  produced  a  number  of  large  negatives 
on  bromo-gelatine  plates  measuring  54  by  40  inches,  and  30  by 
25  inches.  Mr.  T.  Gr.  "Whaite,  who  prepared  the  plates  and 
produced  the  negatives,  has  devised  a  simple  "coater  "  for  large 
plates  consisting  of  a  V-shaped  trough,  one  side  of  V  being  thin 
wood,  the  other  of  double  muslin,  which  is  coated  to  within  an 


eighth  of  an  inch  of  bottom  of  V  with  shellac  varnish.  Here  is  a 
picture  of  it.    The  emulsion  is  supplied  to  the  trough  as  it  is 


152 


STUDIOS  IN  ENGLAND. 


Toeing  drawn  over  the  plate,  on  which  it  acts  as  a  brush,  u  paint- 
ing" the  plate,  free  from  air-bells.  Mr.  Whaite  says,  in  respect 
to  it :  "I  find  the  above  coater  act  admirably,  but  it  must  be  very 
light,  and  easily  handled  with  one  hand,  hence  the  necessity  of 
only  one  side  being  wood ;  coating  the  muslin  with  shellac  pre- 
vents too  much  running  out  over  the  plate  ;  in  fact,  the  coater 
ficts  much  as  the  stylographic  pen — the  emulsion  is  dragged  out, 
as  it  were,  by  drawing  over  the  plate. 


ME.  P.  MAITLAND  LAWS  AT  NEWCASTLE-ON-TYNE. 

Photogkapuy  by  Gaslight. 

To  visit  Newcastle  and  not  to  see  Mr.  Laws'  clever  arrangement 
for  taking  portraits  by  gaslight  would  have  been  a  mistake 
indeed.  Perhaps  we  expected  to  see  more,  or  perhaps  the  sim- 
plicity of  the  apparatus  surprised  us  ;  but  in  any  case,  the  im- 
pression on  the  mind,  after  you  had  been  in  the  studio  some 
minutes,  was  that  you  could  go  out  again  as  soon  as  you  liked, 
there  being  nothing  to  keep  you.  We  once  engaged  in  a  terrible 
struggle  of  many  minutes'  duration,  we  remember,  to  get  a  peep 
at  Garibaldi  sitting  in  a  carriage  drawn  up  before  one  of  the  rail- 
way stations,  and,  hot  and  breathless,  at  last  succeeded  in  push- 
ing right  into  the  front  rank  to  look  upon  the  famous  patriot. 
He  was  bare-headed,  and  dressed  in  that  well-known  grey  toga, 
a  sight  well  worth  seeing.  But,  after  all,  there  was  only  a 
human  face  and  some  grey  cloth  to  look  upon,  and  you  could  not 
go  on  staring  at  these  simple  things  for  ever.  So  it  was  with  Mr. 
Laws'  gas  apparatus ;  it  seemed  so  simple,  it  was  hardly  worth 
coming  to  see.  The  gas-burner  is  no  novelty,  and  the  dome- 
shaped  reflector  inside  is  of  silvered  glass  like  other  reflectors  ; 
as  the  Cockney  said  of  St.  Peter's  at  Borne,  it  is  well  scooped  out, 
but  there's  nothing  in  it. 

The  apparatus,  nevertheless,  represents  the  fruit  of  much  hard 
work  and  ingenuity.  *  Mr.  Laws  set  himself  a  problem,  and 
worked  it  out  by  himself.  A  year  ago,  taking  portraits  in  the 
studio  by  gaslight  in  the  ordinary  way  of  business  would  have 
been  laughed  at  as  an  extravagant  idea.  Walk  into  Mr.  Laws' 
studio  to-day,  and  the  whole  matter  is  so  obvious,  you  are  tempted 
to  declare  there  is  nothing  in  it  at  all.    There  is  a  gas  flame, 


MR.  P.  MAITLAND  LAWS. 


153 


and  there  is  a  reflector — voildtout!  Mr.  Laws  might,  however, 
be  tempted  to  say,  Just  so;  voild  tout  I  a  gas  flame  and  a  re- 
flector ;  but  no  electric  light,  no  gas  engine,  no  Gramme  machine, 
no  complicated  screens,  no  pyrotechnic  display,  no  magnesium 
fumes,  no  sulphur  and  chlorate  of  potash,  no  puffs  and  no  smoke, 
no  mixing  of  anything  in  a  mortar  or  winding  up  of  any  clock- 
work, and,  above  all,  no  patent ;  there  is  a  gas  light  and  there  is 
a  reflector,  that  is  all."  Mr.  Laws  deserves  honourable  recogni- 
tion for  having  devised  a  plan  of  artificial  illumination  that  is 
unsurpassed  for  efficiency  and  simplicity. 

As  to  the  nature  and  delicacy  of  the  pictures  produced  by  gas- 
light, we  merely  say  that  they  are  only  second  to  those  taken 
by  the  aid  of  the  sun.  Any  of  our  readers  who  are  [interested 
would,  no  doubt,  be  welcome  to  an  example  from  Mr.  Laws  by 
paying  the  nominal  cost  of  the  print,  and  we  venture  to  say  they 
will  be  unable  to  point  out  any  great  difference — if,  indeed,  any 
difference  at  all — between  it  and  pictures  taken  by  daylight.  Of 
course  Mr.  Laws  prefers  daylight,  like  anybody  else,  and  only 
employs  his  gas  lamp  in  the  winter  months  and  in  dull  weather. 
Unfortunately,  the  public  are  not  of  the  same  mind.  "I  saw 
none  of  your  gas-light  pictures  in  the  reception  room,"  we  re- 
marked. "No,  I  have  been  forced  to  remove  them,"  said  Mr. 
Laws  ;  "  everybody  wanted  to  be  taken  by  gas-light  in  the 
summer  time." 

One  other  remark  before  we  describe  the  apparatus.  The 
multiple  gas  flame  is  rather  a  large  one,  and  it  might  be  supposed 
that  the  Insurance  Companies  would  therefore  be  inclined  to 
augment  the  premium  ;  but,  notwithstanding  the  fact  that  an 
ofiicer  was  sent  to  inspect  the  studio,  no  addition  was  made  to 
Mr.  Laws'  charges  on  account  of  fire  assurance. 

On  the  following  page  is  a  sketch  of  the  apparatus,  which  is 
placed  at  the  side,  and  a  little  in  advance  of  the  sitter.  We  will 
begin  with  the  burner.  Eroni  the  floor  rises  an  upright  pipe  or 
standard,  4  ft.  6  in.  high,  with  burner  at  the  top,  A ;  over  the 
'burner  is  a  chimney,  the  lower  portion  of  which  is  of  mica,  B,  a 
material  transparent  and  unaffected  by  the  heat  of  the  flame. 
There  is  a  tap  for  turning  the  gas  on  and  off,  C,  when  the  expo- 
sure begins  and  ends  ;  but  so  that  the  flame,  or  rather  flames,  may 
not  be  entirely  extinguished,  there  is  a  little  bye-pipe  which  may 
always  be  left  turned  on.  The  burner  is  one  of  Wigham's,  and 
consists  of  68  jets,  capable  of  yielding  an  illuminating  power,  it 


154  STUDIOS  IN  ENGLAND. 

is  said,  equal  to  1,250  standard  candles.  The  shape  of  the  re~ 
flector  may  be  said  to  be  that  of  a  Dutch  oven,  only  it  is  domed 
instead  of  angular.    It  is  of  galvanised  iron,  and  lined  throughout 


with  strips  of  silvered  glass.  The  upper  concave  portion  of  the 
reflector  supplies  top  light,  the  lower  parts  side  and  front  light. 
The  reflector  is  suspended  from  the  ceiling  by  an  iron  rod,  and  in 
such  a  manner  that  a  slight  touch  is  enough  to  swing  it  round 
and  alter  its  position.  The  measurement  of  the  reflector  across 
the  front  is  forty  inches.  "When  fixed  for  use,  the  top  of  the 
reflector  in  front  is  six  feet  from  the  floor,  while  the  back  (the 
reflector  has  a  sloping  and  rounded  roof,  it  must  be  borne  in  mind) 
is  four  feet  three  inches  from  the  floor.  In  the  centre  of  the 
roof  or  the  reflector  an  opening  eleven  inches  in  diameter  leaves, 


MR.  P.  MAITLANB  LAWS. 


155: 


room  for  the  chimney.  The  walls  of  the  reflector  in  front 
measure  forty  inches. 

A  burner  and  reflectoi  of  this  kind  near  the  sitter  is  a  little  un- 
pleasant, both  by  reason  of  the  heat  and  glare  that  are  perceptible  ; 
but  these  disagreeable  characteristics  are  at  once  shut  off  by  a 
screen  of  blue  glass  that  Mr.  Laws  adjusts  to  the  front  of  the 
apparatus,  and  which  is  not  shown  in  our  cut.  It  is  simply  a 
frame  measuring  40  inches  by  40,  filled  up  with  strips  of  blue 
glass.  This  screen  is  quite  sufficient  to  remove  any  unpleasant- 
ness, and  the  sitter,  as  we  ourselves  can  testify,  suffers  no  more 
from  the  light  than  he  would  in  looking  out  of  window.  Strange 
to  say,  there  is  very  little  actinic  power  cut  off  by  this  blue 
screen,  the  exposure  of  a  plate  for  eight  seconds  with  the  screen 
giving  as  good  an  image  as  one  exposed  for  seven  seconds  with- 
out it.  Eight  seconds  is  the  time  fixed  for  a  carte  portrait  with 
the  extra  sensitive  gelatine  plates  of  Mr.  Swan,  who  has  from 
the  commencement  taken  great  interest  in  Mr.  Laws'  work, 
and  seconded  his  efforts  in  many  ways.  Eor  cabinet  portraits, 
twelve  to  fifteen  seconds  amply  suffice. 

Mr.  Laws  told  us  that  Messrs.  Edmondson,  of  London  and- 
Dublin,  have  inspected  his  reflector,  and  are  in  a  position  to  make 
others  of  a  similar  nature ;  but,  as  our  readers  will  observe,  there 
is  nothing  particularly  difficult  in  the  way  of  constructing  the 
apparatus.  Mr.  Laws  has  tried  naphthalising  his  gas  in  order  ta 
increase  its  brilliancy,  but  the  results  of  his  experiments  in  this 
direction  show  that  there  is  little  if  anything  to  be  gained  by 
such  means.  "We  may  mention,  by  the  way,  that  according  to 
the  Act  of  Parliament,  gas  supplied  in  London  should  have  an 
illuminating  power  of  not  less  than  sixteen  sperm  candles,  em- 
ploying a  standard  burner,  and  further,  that  per  100  cubic  feet 
there  should  not  be  more  than  ten  to  twenty  grains  of  sulphur, 
and  not 'more  than  five  to  ten  grains  of  ammonia.  But  in  the 
provinces  the  standard  is  scarcely  so  good. 

Mr.  Laws  speaks  highly  of  gelatine  plates  for  ordinary  studio 
work.  He  has  employed  the  silver  bath  scarcely  at  all,  and 
does  all  his  daily  work  with  dry  plates.  He  employs  the. 
oxalate  developer,  made  up  according  to  Eder's  simple  formula, 
and  makes  it  a  rule  to  expose  no  more  than  two  plates  on  every 
sitter,  so  familiar  has  he  become  with  their  qualities. 


156 


STUDIOS  IN  ENGLAND. 


MESSRS,  BROWN,  BARNES,  &  BELL  AT  LIVERPOOL. 

There  was  no  reason  to  go  all  the  way  to  Liverpool  to  visit  a 
studio  of  Messrs.  Brown,  Barnes,  and  Bell,  for  London  contains 
two  of  their  establishments,  and  there  are  a  round  dozen  of  others 
in  the  principal  towns  of  Great  Britain  ;  but  it  is  at  Liverpool 
that  the  firm  is  "at  home,"  and  to  Liverpool  we  accordingly 
journeyed.  Even  at  Liverpool  we  did  not  visit  the  whole  of  the 
premises  occupied  by  the  firm.  We  were,  we  frankly  admit, 
only  at  the  principal  studio  in  Bold  Street,  and  at  the  principal 
printing  and  mounting  establishment  in  Mount  Pleasant ;  but  it 
will  be  difficult,  nevertheless,  within  the  space  of  this  article, 
to  give  an  adequate  account  of  what  we  did  see  of  the  doings  of 
this  enterprising  triumvirate  of  photographers. 

"We  have  inspected  a  good  many  studios,  both  in  this  country 
and  abroad,  but,  as  a  photographic  establishment  which  does  not 
publish  work,  that  of  Messrs.  Brown,  Barnes,  and  Bell  is  by  far 
the  biggest  that  has  come  under  our  observation.  We  counted 
a  score  of  employes  m  the  printing  department  alone,  all  en- 
gaged upon  solar  printing,  and  in  the  mounting  and  spotting 
branch  the  hands  were  more  numerous  still,  the  former  work 
being  undertaken  by  men  and  boys,  and  the  latter  by  women 
and  girls.  In  the  toning-rooms,  an  average  of  2,000  impressions 
pass  into  the  bath  daily ;  in  the  sensitizing-room,  from  130  to  150 
sheets  of  paper  are  floated  every  day. 

"  We  may  not  go  in  for  the  very  highest  class  of  work,"  said 
Mr.  B.,  one  of  the  members  of  the  firm;  "our  motto  is,  1  Go 
ahead,'  and  we  do  go  ahead  as  much  as  we  can.  The  London 
branches  do  their  own  printing  and  finishing;  but  Glasgow, 
Birmingham,  Edinbro',  Manchester,  Leeds,  Bradford,  Wigan, 
Henley,  Southport,  Bootle,  Nottingham,  and*  Newcastle,  all 
send  their  negatives  to  us  at  Liverpool." 

In  short,  the  firm's  object  is  to  cater  for  the  million,  and  not 
for  the  few ;  their  ambition  is  to  do  good  work  of  a  good  class, 
and  at  a  moderate  cost.  Here  are  the  prices  : — Twelve  cartes- 
de-visite,  7s.  6d.,  or  if  vignetted,  then  only  half-a-dozen  are  given 
for  this  sum.  Cabinets  are  15s.  6d.  the  half-dozen,  and  one  guinea 
the  dozen.  " Photographs  to  be  paid  for  at  the  time  of  sitting," 
is  the  universal  rule.  On  approval,  the  negative,  together  with 
the  order,  are  sent  to  head-quarters  to  be  dealt  with. 


MESSES.  BROWN,  BAKNES,  AND  BELL.  157 


The  first  proof  from  every  plate  is  pasted  on  a  sheet  of  paper,, 
or  printed  schedule,  which  is  filled  in  with  the  necessary 
particulars,  and  the  colour  of  this  sheet,  whether  yellow,  bluer 
red,  orange,  &c,  indicates  the  locality  from  which  the  photo- 
graph has  been  received.  Obviously,  it  is  only  by  adopting  a 
most  business-like  system,  that  so  vast  and  intricate  an  establish- 
ment could  be  organized  and  kept  going;  and  when  we  mention 
that  not  only  portraiture,  but  all  sorts  of  miscellaneous  work,,, 
is  likewise  undertaken  by  the  enterprising  Liverpool  firm,  it 
must  be  a  good  system  indeed  to  work  without  a  hitch. 

The  head-quarters  office  is  at  Bold  Street.  "We  pass  by  a 
fine  collection  of  photographs,  in  which  the  new  panel  or 
promenade  pictures  are  conspicuous,  and  walk  upstairs.  The 
firm  desires  that  we  should  see  something  of  what  they  propose 
to  do  in  the  future,  before  we  proceed  on  our  visiting  round. 
Imprimis,  there  is  a  handsome  folio  volume  to  admire,  "The 
Pictorial  Eelics  of  Ancient  Liverpool."  Eine  paper  and  bold 
type  are  seen  in  conjunction  with  some  exquisite,  rare  reproduc- 
tions of  sketches  made  half-a-century  ago  and  more,  of  Liverpool. 
The  sketches — seventy-two  in  number — were  collected  from, 
many  portfolios,  their  owners  placing  the  pictures  freely  at  the 
disposal  of  the  firm,  who  were  thus  enabled  to  produce  the 
magnificent  volume  before  us.  "It's  not  bad  for  a  provincial 
production,"  said  Mr.  E.,  in  reply  to  our  encomiums,  and,  indeed, 
Liverpool  is  fortunate  in  possessing  such  "pictorial  relics."' 
"When  will  London  have  such  a  volume,  we  wonder  ? 
,  Here  is  something  else  equally  attractive.  Milled  note-paper 
has  been  popular,  but  people  are  getting  tired  of  it ;  so  Messrs* 
Erown,  Earnes,  and  Eell  propose  to  impart  to  letter  writing  a 
further  charm.  Here  are  half-a-dozen  designs — pieces  of  card- 
board some  twenty  inches  high — which  may  be  regarded  as 
magnified  sheets  of  note-paper.  Upon  each  sheet  is  an  elegant 
linear  design  in  Indian-ink;  there  are,  perhaps,  a  score  of 
parallel  lines  down  the  page,  to  aid  in  writing  straight,  and  at 
the  margin  are  scrolls,  and  crests,  and  water-lilies,  &c,  &c, 
finished  also  in  Indian-ink.  These  designs  will  be  photographed, 
and  a  block  prepared  by  the  Woodburytype  process,  or,  rather, 
by  a  modification  of  it,  which  is  familiar  to  many  of  our  readers, 
under  the  name  of  photo-filigrain.  "With  this  block  note-paper 
will  be  embossed,  and  the  result  will  be  sheets  with  a  delicate 
water-mark  design  and  a  slightly  embossed  surface.    There  is 


158 


STUDIOS  IN  ENGLAND. 


this  material  difference,  however,  between  the  ordinary  water 
mark  and  that  imparted  by  Mr.  "Woodbury's  ingenious  process  : 
in  the  former  the  markings  are  formed  by  lines  uniformly 
transparent  and  of  considerable  thickness.  The  photo-filigrain 
process,  on  the  other  hand,  not  only  permits  the  formation  of 
very  fine  lines,  but  will  reproduce  half-tones  as  well,  if  these 
were  present  in  the  original  design. 

Another  obvious  advantage  is  cheapness.  To  make  a  fine 
design  for  water-marking  is  very  costly,  fifty  to  a  hundred 
pounds  being  sometimes  spent  upon  it;  to  practise  photo- 
filigrain,  you  may  take  your  design  whence  you  choose.  What- 
ever the  camera  reproduces  can  be  adopted  as  a  design.  Our 
host,  Mr.  B.,  indeed,  hopes  soon  to  be  able  to  say  to  photo- 
graphers, "  Send  us  an  impression  of  any  portrait  negative  upon 
the  sensitive  tissue  we  forward  you,  between  folds  of  yellow 
paper  ;  we  will  then  supply  you  with  a  quire  or  more  of  note- 
paper,  in  which  your  portrait  shall  be  exhibited  as  a  water-mark." 
The  Liverpool  firm,  in  a  word,  propose  to  make  a  clever  use  of 
a  clever  process. 

We  have  little  time  to  speak,  as  we  should,  of  the  efforts 
Messrs.  Brown,  Barnes,  and  Bell  are  making  in  conjunction 
with  Mr.  Woodbury  to  supersede  engraving  on  wood  or  steel. 
In  Paris,  as  our  readers  are  aware,  the  firm  of  Goupil  et  Cie. 
have  already  out-distanced  all  others  in  the  success  that  has 
attended  their  efforts  in  this  direction,  and  there  are  now  to  be 
seen  mechanical  portraits  that  cause  us  to  rub  our  eyes,  and 
•doubt  whether  it  is  photography  or  a  true  engraving  we  are 
looking  at.  The  Liverpool  firm  is  a  competitor  in  the  same  race, 
but  at  present  their  efforts  are  more  particularly  directed  towards 
turning  a  draughtsman's  sketch  into  a  type-block  for  printing. 
A  French  publication — "La  Vie  Moderne" — already  exists, 
which  employs  the  camera  to  translate  its  sketches  ;  but  these 
newspaper  illustrations  are  capable  of  considerable  improvement. 
It  is  indispensable  to  have  a  grain  throughout  the  picture  in  a 
process  of  this  kind,  and  one  of  the  most  successful  plans  that 
has  been  tried  in  Liverpool  is  to  make  the  sketch  upon  a  paper 
over  which  a  network  of  black  lines  has  been  traced,  the  veil- 
like markings  having  a  close  likeness  to  that  borne  by  reticulated 
tissue.  Upon  this  black-veiled  paper  an  artist  sketches  in 
crayons;  wherever  his  point  touches,  a  black  line  results, 
covering  up  the  network,  the  result  being  a  drawing  of  a  some- 


MESSRS.  BROWN,  BARNES,  AND  BELL.  159 


ivhat  degraded  character,  since  there  are  no  high-lights.  To 
get  these  he  employs  an  eraser,  or  the  point  of  a  knife,  which 
scrapes  away  the  black  veil,  and  thus  lays  the  white  surface  bare. 
Therefore,  in  the  end,  the  picture  is  made  up  of  three  gradations, 
if  we  may  so  term  them :  bare  white  paper  for  the  high-lights, 
the  net- work  for  the  middle  tints,  and  black  crayon  lines,  more 
or  less  close,  for  the  shadows.  Of  this  sketch  a  photograph  is 
taken  on  the  Woodbury  tissue,  which,  by  washing,  is  made  into 
a  mould,  and  from  this  mould  a  plaster  cast  is  secured.  It  is 
then  a  comparatively  easy  matter  to  get  a  type-block  from  the 
plaster  cast. 

At  Bold  Street,  there  may  be  said  to  be  three  reception  rooms, 
one  above  the  other,  on  the  ground,  first,  and  second  floor ;  so 
that,  if  there  are  many  customers  waiting,  this  circumstance  is 
not  rendered  too  obvious  to  the  last  comer,  who  might  be 
frightened  away  if  he  saw  the  full  extent  of  the  queue.  But  the 
rooms  are  not  only  elegantly  and  comfortably  fitted  up ;  they 
are  so  full  of  interesting  pictures,  that  half-an-hour  is  quickly 
spent  within  their  walls.  Collodion  enlargements  on  opal,  collo- 
dion transfers,  and  carbon  prints  are  here  in  profusion — some 
perfectly  untouched,  others  more  or  less  highly  finished  in  oil, 
and  black-and-white,  to  suit  all  tastes  and  all  purses.  Here  is 
a  charming  enlargement — two  tiny  sailor  boys  perched  aloft  on 
the  truck  of  the  main  mast  among  the  rigging,  with  a  clear-lit 
sea  behind  them.  In  the  studio  presently,  we  see  the  "  acces- 
sory "  that  has  been  here  employed,  an  object  of  a  very  simple 
character,  which  is  placed  in  front  of  a  sea  background,  the  seat 
being  some  five  feet  from  the  ground,  so  as  to  give  the  effect  of 
height.  Not  far  off  is  another  picture  of  interest — the  portrait 
of  a  rough  gold-digger  in  a  Calif ornian  landscape.  "He  came 
to  us,"  said  Mr.  B.,  "with  a  yellow,  stereoscopic  picture, 
showing  the  spot  where  he  made  his  fortune,  and  the  wooden 
shanty  in  which  he  had  lived  during  the  making  of  it.  '  Here's 
my  diggings,  and  here  am  I  myself ;  now,  can't  you  make  a 
portrait  of  me,  and  put  me  alongside  the  old  place  ? ' "  The 
Calif  ornian' s  wish  was  gratified,  and  the  picture  before  us  tells 
how  successfully  the  tour  de  force  was  accomplished. 

These  are  legal  pictures.  Here  is  a  substantially-built  house, 
with  two  tumble-down  cottages  beside  it.  The  owner  of  the 
house  heard  that  his  friends  next  door  were  about  to  pull  down 
the  adjoining  premises,  and  build  them  up  again  on  a  finer 


160 


STUDIOS  IN  ENGLAND. 


scale  ;  there  was  talk  of  a  lofty  establishment  that  bade  fair  to 
obscure  the  light  of  the  house-owner,  so  the  latter  conceived  the 
happy  idea  of  having  the  old  buildings  photographed  forthwith, 
as  they  stood,  so  that,  in  case  of  a  law  dispute  about  ' '  ancient 
lights,' '  good  evidence  should  be  forthcoming  as  to  the  actual 
height  of  the  old  dwellings.  Another  illustration.  The  nose 
of  a  ship  has  been  damaged,  and,  while  it  is  lying  in  the  dry 
dock,  a  photograph  is  taken  to  record  the  extent  of  the  injury. 
It  is  the  result  of  a  collision,  and  there  will  probably  be  a 
dispute  as  to  the  amount  to  be  made  good.  "  This  is  the  birth- 
place of  Gladstone,  in  Eodney  Street,"  said  Mr.  B.  "  An  old 
lady  living  there  objected  to  our  taking  the  photograph ;  we  told 
her  Mr.  Gladstone  was  public  property,  and  we  should  do  as 
we  liked.  However,  she  was  perfectly  satisfied  in  the  end, 
when  we  presented  her  with  a  copy  of  the  picture.' 7  There  are, 
by  thu  way,  many  fine  pictures,  on  a  large  scale,  of  private 
residences,  and  we  doubt  whether  there  are  many  photographers 
who  are  so  alive  to  the  turning  of  an  honest  penny  in  this  branch 
of  business  as  Messrs.  Brown,  Barnes,  and  Bell. 

"We  go  across  to  the  printing  and  mounting  establishment, 
having  first  announced  our  coming  through  the  telephone. 
Nearly  a  hundred  people  are  here  employed,  and  Mr.  B.  tells 
us  the  number  of  employes  and  families  dependent  on  the  fimi 
are  scarcely  less  than  one  thousand.  Think  of  that,  all  you 
who  despair  of  getting  a  livelihood  out  of  photography !  Here 
are  store-rooms  for  incoming  and  outgoing  packages  ;  here  is  the 
frame-makers'  department,  in  which  frames  of  all  sizes  are  turned 
out  by  the  gross,  the  firm's  business  in  club  enlargements  being 
especially  great.  Farther  on  are  the  toning  rooms  ;  lime  toning 
only  is  employed,  and  in  washing,  toning,  and  fixing,  the 
utensils  employed  are  all  of  slate.  In  Mr.  B.'s  opinion  there  is 
not  a  cheaper  and  better  material  for  the  purpose  than  enamelled 
slate.  The  slabs  are  screwed  together,  and  the  joints  made  tight 
with  white  lead.  The  water  in  the  bath  remains  clear  and  cool, 
and  a  utensil,  two  feet  square,  costs  but  twenty  shillings. 

The  outhouses  and  yard  devoted  to  printing  present  a  very  busy 
scene.  In  the  open,  upright  screens  secure  shadow ;  but  there 
are  conveniences  for  printing  under  any  conditions.  Tou  can 
easily  tell  the  dry  plates  from  the  wet  when  they  are  in  the 
frames;  the  former  are  black,  the  latter  white.  "  You  don't 
like  dry  negatives,  Mr.  Oliver,  do  you?"  says  our  host;  and 


M.  LAFOSSE. 


161 


Mr.  Oliver,  who  has  had  charge  of  the  printing  arrangements  for 
the  past  fifteen  years,  replies  most  emphatically  that  he  don't. 

"We  go  upstairs,  moving  from  room  to  room.  Sensitizing, 
mounting,  touching,  and  painting  are  busily  going  on.  Prom  the 
first  floor  we  go  to  the  second,  and  from  the  second  into  the  roof, 
where  the  collodion  enlargements  are  made.  There  is  just  as 
much  bustle  up  here  as  down  below.  Coating,  sensitizing,  and 
stripping  are  going  on  in  a  series  of  laboratories,  and  close  by  is 
the  enlarging-room.  An  opening  in  the  roof  receives  the  small 
negative,  under  this  is  the  lens,  and  a  table  below  receives  the 
sensitized  collodion  plate.  No  sunlight  is  employed,  but  direct 
rays  from  the  sky,  and,  under  these  circumstances,  an  enlarge- 
ment is  secured  in  ten  seconds.  There  is  no  dark-slide,  the 
room  being  sufficiently  gloomy  to  prevent  the  film  taking  harm 
when  it  is  carried  about;  the  negative  is  adjusted  and  focussed, 
and  then  the  sensitized  opal  plate  is  brought  from  the  bath,  and 
laid  on  the  table,  upon  which  the  enlarged  image  falls.  After 
an  exposure  of  ten  seconds,  the  plate  is  taken  up  and  developed. 
A  hundred  collodion  enlargements  a  day  are  sometimes  made  in 
these  laboratories. 


M.  LAFOSSE  AT  KNOLL'S  HOUSE,  MANCHESTER. 

Delightfully  situated  in  its  own  grounds  at  Higher  Broughton, 
above  the  vapours  of  murky  Manchester,  is  a  quaintly  built  villa 
of  black  oak,  a  bit  of  mediaeval  architecture  that  seems  to  have 
been  forgotten  by  the  modern  builders,  who  have  been  so  busy 
planting  their  bricks  and  stucco  around.  It  is  Knoll's  House, 
and,  posed  on  its  terrace-like  pedestal,  it  appears  all  the  brighter 
and  more  pleasing  by  reason  of  its  contrast  to  the  solemn  square 
edifices  in  the  neighbourhood.  The  gable  roof  and  shining  black 
beams  are  charmingly  picturesque,  and  as  the  building  lies  back 
at  some  distance  from  the  road,  there  are  quietude  and  repose  to 
still  further  enhance  its  beauty. 

The  interior  is  no  less  pleasing.  An  oak  passage,  somewhat 
low  and  sombre,  with  shining  casques  of  steel  and  polished  breast- 
plates on  either  side,  leads  to  a  panelled  room  in  which  there  is 
much  exquisite  carving.  Here  everything  is  in  good  taste  and 
keeping  with  the  structure.   The  furniture  is  all  of  black  oak, 

M 


162 


STUDIOS  IN  ENGLAND. 


and  on  the  massive  sideboard  are  tankards  and  platters  of 
burnished  silver.  The  fireplace  is  of  mediaeval  design,  and  the 
settees  and  curtains  have  an  air  of  the  tapestry  age  about  them. 
To  be  brief,  in  the  construction  of  Knoll's  House,  every  bit  of  Old 
Manchester  that  could  be  collected  together  by  its  builder  was 
made  use  of,  and  the  experiment,  a  risky  one,  has  yielded  a  very 
happy  result.  It  is  only  the  oak  room  and  hall,  however,  that 
possess  an  old-fashioned  air.  The  rest  of  the  rooms  have  lofty 
ceilings  and  modern  furniture,  although  in  the  handsome  gallery 
or  reception  room  there  are  also  much  antique  work  and  rare 
carving  to  admire. 

M.  Lafosse  has  a  business  establishment  in  the  town  of 
Manchester  itself,  and  it  is  only  the  higher  class  camera  work 
that  is  executed  at  Knoll's  House.  M.  Lafosse' s  name  stands  so 
high  as  an  artist  that  we  need  not  speak  here  of  the  merits  of 
his  pictures ;  he  executes  large  numbers  of  cabinets,  for  which 
he  possesses  a  wide  reputation,  while  in  respect  to  club  portraits 
on  opal — to  take  another  branch  of  work — they  are  produced 
upon  so  large  a  scale  that  M.  Lafosse  actually  employs  a  staff  of 
framers  on  the  premises. 

A  courtyard  separates  the  house  from  the  working  depart- 
ments, the  studios  being  again  connected  by  a  passage  with  the 
front  entrance.  "We  cross  the  yard,  and  M.  Lafosse  points  out 
where  his  large  groups  are  taken.  There  are  a  rustic  bench  and 
two  or  three  chairs  upon  a  platform,  the  boarded  background 
being  painted  of  a  greyish  tone,  and  trained  with  imitation  ivy. 
"After  two  o'clock  I  can  do  anything  I  please  there;  I  know 
my  effects  as  well  as  in  the  studio  indoors."  "We  pass  on  into  the 
framing  room.  "Here  are  the  cheap  club  portraits  we  were 
talking  about  just  now ;  our  charge,  finished  in  colours,  is  thirty- 
five  shillings,  or  two  guineas  in  black  and  white."  The  pic- 
tures are  all  upon  opal,  the  latter  being  simply  albumenised, 
coated  with  collodion,  and  sensitized  in  the  ordinary  way.  In 
reply  to  a  question  as  to  toning,  M.  Lafosse  says  :  "  The  tint  is 
so  satisfactory  after  development  that  we  never  tone." 

"We  enter  the  printing  room.  It  is  a  model  of  construction  and 
ingenuity.  It  is  an  oblong  apartment,  and,  as  a  matter  of  course, 
not  very  light.  Along  the  length  of  the  room  runs  a  dresser  or 
bench,  upon  which  the  pressure-frames  are  stood  for  changing. 
In  front  of  the  printers  are  large  roof -like  windows,  and  the 
frames,  put  upon  a  sliding  tray,  may  be  either  pushed  forward 


M.  LAFOSSE. 


163 


under  these  windows,  or  farther  still  into  the  open  air  for  print- 
ing. There  are  six  of  these  sliding  trays,  measuring  some  five 
feet  broad,  all  of  which  in  turn  are  drawn  in  upon  the  dresser,  to 
change  the  frames  ;  and  according  as  the  tray  is  pushed  out 
again  into  the  light  much  or  little,  so  the  printing  proceeds 
quickly  or  slowly.  Conveniently  situated  behind  the  printers  is 
the  darker  sensitizing  room,  whence  fresh  supplies  of  paper  are 
drawn,  and  also  the  negative  store  room,  so  that  the  employes 
have  all  necessary  to  do  their  work  conveniently  to  hand,  and 
the  operations  proceed  smoothly  and  uninterruptedly.  The  nega- 
tive room  has  racks  for  14,000  negatives,  each  pigeon-hole  con- 
taining ten  plates ;  hence  the  numbering  is  at  once  plain  and 
straightforward.  M.  Lafosse  is  never  troubled  with  rising  of 
the  film ;  he  employs  both  Hubbard's  and  the  Autotype  varnish. 

There  are  two  fine  glass  rooms  at  Knoll's  House,  at  right 
angles  to  one  another.  Our  kindly  host  insists  upon  taking  a 
portrait,  so  we  sit  down.  When  the  picture  is  taken,  however, 
we  scarcely  know,  for  there  is  such  a  humorous  rattle  the  whole 
time,  and  all  sorts  of  conjuring  going  on  with  a  fan,  and  anec- 
dotes about  past  sitters  and  present  ones,  that  by  the  time  we 
begin  to  compose  ourselves,  he  says  it  is  all  over.  M.  Lafosse 
is  of  opinion  that  French  photographers  are  certainly  not  ahead 
of  those  in  England  now-a-days.  "  But  Paris  photographers 
have  many  advantages — that  is  a  nice  little  fan,  isn't  it  ? — you 
see  their  models  pose  so  much  better  than  you  English  people  do 
— that's  a  capital  smile  ! — and  then  they  dress  so  much  better. 
Here  you  have  people  who  don't  know  how  to  dress  at  all ;  they 
come  arrayed  in  glaring  satin  or  a  nasty  shiny  grey,  like  that  you 
are  wearing — capital  laugh  that ;  just  keep  it  on — thank  you." 

M.  Lafosse's  principal  studio,  which  is  about  fifty  feet  long, 
is  tinted  a  dark  grey-green.  There  is  a  skirting-board  at  the 
light  side  eighteen  inches  from  the  ground  ;  then  three  feet  of 
ground-glass,  and  above  that,  sloping  inwards,  three  feet  of 
clear  glass.  All  or  any  portion  of  the  ground-glass  may  be  shut 
out  by  opaque  sliding  screens,  and  there  is  a  very  ingenious 
arrangement  for  modifying  the  top  side  light  that  comes  through 
the  clear  glass.  A  row  of  small  white  screens  hang  down  from 
the  roof,  and  in  this  position  do  not  obscure  the  glass.  But  if 
sloped  to  the  right  or  left — and  by  means  of  a  frame-work  they 
all  move  together — the  light  is  reflected  on  to  or  away  from  the 
sitter,  or,  by  pulling  taut  the  glass,  obscured  altogether.  The 


164 


STUDIOS  IN  ENGLAND. 


screens,  indeed,  are  constructed  something  after  the  manner  of  a 
Venetian  blind.  The  studio  contains  a  vast  number  of  clever 
properties,  but  the  best  of  all  is  a  large  musical  box,  which 
M.  Lafosse  finds  exceedingly  useful  when  making  exposures,  as 
sitters  then  have  something  else  besides  themselves  to  think 
about  at  the  eventful  moment. 

In  working,  M.  Lafosse  believes  it  well  to  make  up  collodion 
and  silver  bath  in  batches.  For  instance,  he  makes  up  one 
hundred  ounces  of  nitrate  of  silver  into  bath,  and  mixes  up  at 
the  same  time  as  much  collodion  as  he  is  likely  to  require  for 
the  same.  When  these  are  expended,  he  prepares  fresh  supplies . 
In  the  same  way  he  albumenises  a  hundred  or  a  thousand  plates 
at  a  time,  for  M.  Lafosse  invariably  employs  an  albumen  sub- 
stratum both  for  ordinary  work  and  for  his  opal  enlargements. 
The  varnishing  is  done  in  an  ingenious  manner,  which  our 
readers  will  do  well  to  note.  Our  host  makes  use  of  a  little 
"cheerful  stove." 

M.  Lafosse's  retouching  room  is  also  worth  making  a  note  of. 
The  light  enters  from  a  wide  window  in  front,  but  a  curtain 
depending  from  the  ceiling  shuts  out  direct  illumination,  except 
where  the  row  of  retouching  frames  are  placed.  The  ceiling  and 
wall  behind  are  painted  a  dark  neutral  tint  to  absorb  the  light 
and  not  to  reflect  it,  so  that  while  the  apartment  is  softly  illu- 
minated, the  light  behind  the  negatives  is  still  exceedingly 
vivid.    Altogether  this  retouching  room  is  a  model. 

M.  Lafosse  is  of  opinion  that  something  novel  is  necessary  to 
give  healthy  impetus  to  photographic  work,  and  he  has  not  much 
faith  in  the  promenade  or  any  other  style  of  portrait  effecting 
such  beneficial  change.  "  We  do  not  want  merely  a  variation  in 
the  cutting  or  mounting  of  photographs,  but  some  modification 
of  the  photograph  itself.  A  real  cameo,  or  bas-relief  portrait,  in 
which  the  face  stands  out  from  a  dark  background,  would  make 
an  attractive  picture,  for  example,  if  we  could  only  produce  such 
things. "  Possibly,  now  the  Woodbury  patent  has  lapsed,  we 
shall  have  some  attention  given  to  the  production  of  photographic 
portraits  in  relief ;  at  any  rate,  M.  Lafosse's  idea  is  well  worthy 
of  record  here. 


MR.  J.  W.  SWAN. 


165 


MR.  J.  W.  SWAN  AT  NEWCASTLE-UPON-TYNE. 

Maott  of  our  readers  will  envy  us  an  afternoon  spent  in  Mr. 
Swan's  laboratory,  but  we  will  do  our  best  to  share  the  benefit 
of  it  with  them.  Mr.  Swan  has  always  been  a  pioneer  in  photo- 
graphy, and  where  he  does  not  originate,  he  makes  such  sound 
improvements,  that  he  never  fails  to  leave  his  mark  upon  any 
branch  he  has  to  do  with ;  and  there  are  few  branches  to  which 
he  has  not  given  attention.  The  names  of  carbon  printing  and 
Swan  are  synonymous  ;  and  if  the  photo-relief  process  had  not 
been  so  timely  secured  to  himself  by  Mr.  Woodbury,  the  eminent 
Newcastle  chemist  would  have  made  it  is  own.  Mr.  Swan  pre- 
ceded Baron  Yon  Lenk  by  some  years  in  the  manufacture  of 
guncotton  from  "  slobbings  and  rovings"  instead  of  from  cotton 
wool,  for  soon  after  the  exhibition  of  1851  Mr.  Swan  commenced 
to  prepare  pyroxylin  from  this  description  of  cotton,  and  has 
continued  to  do  so  for  collodion  making  ever  since.  When  the 
news  was  flashed  from  America  that  Mr.  Edison  had  at  last 
found  out  the  way  of  lighting  up  our  dining  rooms  and  libraries 
with  electricity,  by  the  simple  expedient  of  rendering  incan- 
descent a  tiny  horse-shoe  of  carbonised  paper,  it  was  found  that 
Mr.  Swan,  quietly  working  in  his  laboratory  at  Newcastle,  had 
made  the  discovery  some  time  before,  and,  moreover,  had  taken 
the  precaution  to  patent  it.  The  Swan  lamp  was  in  the  market 
six  months  before  the  Edison  lamp  could  be  purchased. 

As  Mr.  Swan  has  of  late  occupied  himself  with  the  preparation 
of  gelatino-bromide,  it  goes  without  saying  that  he  has  made 
himself  master  of  this  new  and  delicate  branch  of  photography. 
At  the  same  time  Mr.  Swan  is  no  enthusiast ;  on  the  contrary, 
he  is  somewhat  sceptical  upon  the  matter  of  new  phenomena, 
and  is  more  likely  to  disbelieve  than  to  adopt  a  novel  dictum. 
If  you  propound  a  theory  in  development,  or  express  a  belief  in 
the  special  treatment  of  a  film,  he  puts  his  hands  behind  him, 
and  permits  you  the  privilege  of  demonstrating  the  fact  yourself, 
placing  apparatus  and  chemicals  at  your  disposal  for  the  purpose. 
If  you  succeed,  well  and  good  ;  if  you  fail,  he  does  not  congratu- 
late himself  upon  his  foresight,  but,  like  a  generous  foe,  straight- 
way proceeds  to  help  you,  repeating  the  experiment  himself,  to 
be  quite  sure  that  nothing  has  gone  wrong,  and  that  the  theory 
expressed  shall,  at  any  rate,  have  every  chance.  The  matter  of 
development  in  the  light,  or  rather  commencing  the  development 


166 


STUDIOS  IN  ENGLAND. 


of  a  gelatine  film  in  the  dark,  and  continuing  the  operation  in 
subdued  light,  did  not  answer  in  Mr.  Swan's  hands,  for  half  of 
the  plate  which  had  been  treated  entirely  in  the  dark  proved, 
on  careful  comparison,  the  better  and  brighter.  At  the  same 
time,  he  was  ready  to  admit  that  in  the  case  of  a  comparatively 
slow  plate,  and  under  the  action  of  very  subdued  light,  a  gelatine 
film,  especially  in  the  non-actinic  oxalate  developer,  would  not 
be  likely  to  suffer  to  an  appreciable  degree. 

Mr.  Swan,  in  the  manufacture  of  his  plates,  fully  believes  in 
the  addition  of  a  small  proportion  of  iodide.  We  mentioned  the 
opinion  of  several  photographers  who  were  unable  to  detect  any 
difference  between  a  film  prepared  wholly  with  bromide  and  one 
containing  a  proportion  of  iodide.  Said  Mr.  Swan,  you  must  be 
quite  sure  that  there  is  iodide  of  silver  in  your  plates  before  you 
make  comparison ;  it  is  possible  to  employ  an  iodine  salt  when 
making  your  emulsion,  and  yet  not  form  any  iodide  of  silver,  orr 
at  any  rate,  get  any  of  it  in  the  finished  product.  But  whether 
there  is  iodide  present  or  no,  is  soon  apparent  on  taking  the 
films  into  daylight.  "  In  this  case  you  have  only  bromide  of 
silver  present,"  said  Mr.  Swan,  showing  us  a  series  of  plates  of 
a  pale  primrose  colour,  which,  when  held  up  against  the  light, 
could  scarcely  be  called  opaque;  " while  here,  again,  this  brim- 
stone colour  proclaims  the  presence  of  iodide  of  silver.' '  These 
latter  films  were  quite  opaque,  and  this  test,  therefore,  we  com- 
mend to  our  readers  as  one  that  is  likely  to  stand  them  in  good 
stead.  The  plates  must  be  examined  as  soon  as  they  are  brought 
into  the  light,  as  their  tint  changes  after  exposure  for  a  minute 
or  two  ;  and  in  judging  their  colour,  look  at,  and  not  through, 
the  films. 

The  presence  of  iodide,  therefore,  from  the  fact  that  it  gives  a 
more  opaque  film,  and  thus  prevents  blurring,  is  an  undoubted 
advantage,  while  for  the  same  reason  it  adds  vigour  to  the 
image.  Mr.  Swan  also  believes  that  the  addition  of  iodide  is 
of  value  in  contributing  towards  clear  shadows  and  vigorous  high 
lights. 

As  to  the  quality  of  the  bromide  formed,  and  the  nature  of  its 
particles,  whether  coarse  or  fine,  of  which  we  have  heard  a  good 
deal  of  late,  Mr.  Swan  has  no  hesitation  in  saying  that  the 
coarser  the  particles,  the  more  sensitive  is  the  bromide.  More- 
over, he  believes  that  the  colour  seen,  when  viewing  a  glass- 
plate  coated  with  emulsion,  as  a  transparency,  is  not  due  to  the 


MR.  J.  W.  SWAN. 


167 


emulsion  itself,  but  simply  to  the  passage  of  light  between  the 
particles  ;  that  is  to  say,  when  the  particles  are  fine,  the  light 
transmitted  appears  to  be  orange  or  red ;  while  if  the  bromide 
particles  are  of  a  coarse  nature,  the  light  transmitted  is  grey  or 
blue. 

Notwithstanding  the  greatest  care  in  emulsifying  and  pre- 
paring the  plates,  Mr.  Swan  finds  it  impossible  to  control  the 
sensitiveness  within  certain  limits,  and  for  this  reason  he  adopts 
the  common-sense  plan  of  carefully  testing  the  plates  by  a 
standard  after  the  emulsion  is  made,  and  recording  this  sensi- 
tiveness. In  this  way  he  knows  what  he  has  made,  if  he  does 
not  know  how  he  has  made  it.  Every  batch  of  plates  is  tested 
for  density,  sensitiveness,  frilling,  and  spotting.  The  plates  after 
coating  are  permitted  to  set — under  an  hour  is  the  time  neces- 
sary— and  then  dried  in  an  atmosphere  very  slightly  raised 
(between  70°  and  80°  Eah.)  for  a  period  of  twenty-four  hours. 
They  are  then  packed,  not  only  with  a  view  to  shelter  them 
from  light,  but  also  from  that  arch-enemy  to  gelatine,  damp  (the 
packing  we  need  not  describe,  as  any  purchaser  of  the  plates  can 
examine  it  for  himself),  and  they  then  come  before  the  inspector. 
One  assistant  is  engaged  on  no  other  work  but  that  of  inspection, 
and  it  is  his  duty  to  take  haphazard  a  per  centage  from  every 
batch  for  trial.  The  plate  is  put  into  a  printing  frame  under  a 
standard  negative  of  known  intensity,  at  a  distance  precisely  of 
ten  feet  from  an  ordinary  fish-tail  gas-burner.  A  standard  deve- 
loper is  employed,  and  a  sand  glass  that  runs  exactly  three 
minutes  and  a  half  serves  to  fix  the  time  for  the  plate  to  remain 
in  the  developer.  With  these  fixed  conditions,  the  sensitiveness 
of  a  batch  of  plates  is  soon  determined  approximately  by  an 
experienced  assistant,  and  he  then  decides  whether  the  plates 
are  5,  10,  15,  20,  or  25  times  quicker  than  wet  collodion, 
information  that  is  at  once  marked  outside  every  packet  of  the 
batch. 

Mr.  Swan  showed  us  an  interesting  series  of  negatives  illus- 
trating the  effect  of  strong  and  weak  developers,  and  the  influ- 
ence of  varied  intervals  of  development,  in  order  to  prove  the 
control  that  may  be  exercised  is  coping  with  under-  and  over- 
exposed films.  His  normal  developer  in  this  case  was  six  grains 
of  ammonia  and  six  grains  of  bromide  dissolved  in  one  ounce  of 
water  on  the  one  hand,  and  on  the  other,  pyrogallic  acid  dis- 
solved in  one  ounce  of  water  in  various  quantities.    Thus  we 


168 


STUDIOS  IN  ENGLAND. 


saw  plates  (all  with  the  same  exposure)  developed  with  half  a 
grain,  a  grain,  and  two  grains  of  pyrogallic  acid,  and  further 
examples  showing  the  effect  of  these  developers  after  an  interval 
of  two  minutes,  three  minutes,  and  six  minutes.  Mr.  Swan 
believes  that  many  failures  in  development  are  due  to  employ- 
ing ammonia  of  not  sufficient  strength,  and  pyrogallic  acid 
not  freshly  prepared.  The  whole  formula  obviously  is  deranged 
if  attention  is  not  paid  to  these  details. 

In  removing  the  film  from  a  gelatine  plate,  when  such  a  thing 
is  desired,  Mr.  Swan  has  recourse  to  the  employment  of 
methylated  spirit  for  hardening  ;  that  is  to  say,  when  the  film 
has  been  alumed  and  floated  off  by  the  application  of  a  little  very 
dilute  hydrochloric  acid,  he  toughens  and  contracts  it  again  by 
immersion  in  spirit,  when  the  film  may  be  handled  without 
much  fear  of  the  consequences.  Whether  the  operation  can  be 
done  in  the  case  of  paper  remains  to  be  seen. 

Mr.  Swan's  laboratory  is  an  affaire  de  luxe ;  it  opens  into  a 
glass  corridor,  at  the  one  end  of  which  is  a  dark  closet,  and  at 
the  other  a  fine  glazed  studio.  The  laboratory  is  a  most  agreeable 
apartment,  being,  in  fact,  Mr.  Swan's  library,  which  is  converted, 
by  very  simple  means,  into  a  dark-room.  The  two  doors  are  pro- 
vided with  strips  of  list,  and  with  mats  fitting  into  the  threshold, 
so  that  no  light  passes  them.  The  large  window  is  covered 
with  a  four-fold  thickness  of  orange  paper,  and  the  lights  of  the 
gaselier — with  the  exception  of  one  jet  that  is  turned  up  now 
and  then  for  testing — are  provided  with  ruby  chimneys.  The 
orange  paper,  by  the  way,  is  of  Mr  Swan's  own  preparation,  and 
has  been  made  especially  for  his  plates. 

There  is  a  tap  and  sink  in  one  of  the  cupboards,  and  some  big 
porcelain  trays  with  hyposulphite  and  alum  conveniently  at 
hand.  You  have  simply  to  turn  the  keys  of  the  two  doors  and 
lower  the  gas,  and  you  are  in  a  dark-room  that  is  by  no  means 
dark.  But,  with  his  very  sensitive  plates,  Mr.  Swan  has  to  take 
care,  and,  therefore,  he  has  his  developing-dishes  provided  with 
covers,  which  are  employed  as  frequently  as  possible. 

In  respect  to  the  gelatine  which  is  most  suitable  to  the 
preparation  of  plates,  Mr.  Swan  does  not  mind  that  which 
is  a  bit  turbid ;  in  fact,  he  does  not  lay  much  stress  at  all 
upon  this  quality,  so  long  as  the  material  is  otherwise  sound. 
But  he  will  have  nothing  to  do  with  gelatine  that  contains 
traces  of  acid,  no  matter  how  transparent  it  may  be.  Mecha- 


MR.  J.  W.  SWAN. 


169 


ideal  tests,  or  its  capacity  for  absorbing  water,  are  not  gone 
into ;  but,  on  the  other  hand,  no  sample  is  approved  until  it 
has  been  actually  tried  for  emulsion  making. 

Speaking  of  a  suitable  electric  light  for  the  studio,  which 
would  be  required  for  a  brief  period  at  intervals,  Mr.  Swan  says 
the  lamp  may  be  of  the  simplest  description.  Two  sockets  to 
hold  the  two.  carbons,  one  fixed,  and  the  other  to  slide  or  screw 
in  a  tube,  so  that  by  hand  the  two  carbons  may  be  brought 
together  or  separate,  is  all  that  is  absolutely  necessary  for  photo- 
graphic work. 

For  portraiture,  where  everything  ought  to  go  as  quickly  and 
smoothly  as  possible,  it  is  an  advantage  to  have  a  lamp  with  a 
simple  automatic  action  for  instantly  distancing  the  carbons 
when  the  current  is  turned  on  by  the  switch. 

The  upper  carbon  should  be  large,  and  the  lower  one  smaller 
and  pointed.  The  two  should  not  be  in  the  same  axial  line ; 
the  point  of  the  lower  carbon  should  abut  against  the  front  edge 
of  the  upper  carbon,  so  as  to  produce  the  excavation  on  its  point 
edge  indicated  in  the  sketch.  The  object  of  this  arrangement  is 
to  have  the  whole  light  of  the  incandescent  crater  which  forms  in 
the  positive  carbon,  and  which  is  the  chief  source  of  the  light, 
thrown  forward.  The  upper  carbon  is,  of  course,  supposed  to  be 
the  positive  carbon. 

With  a  lamp  of  this  kind,  the  light  need  not  be  turned  on  until 
it  is  wanted.  The  turning  on  of  the  light  should  be  effected 
by  a  strong  and  massive  switch.  In  the  distancing  mechanism 
the  click  action  of  the  Brush  lamp  has  been  adopted. 

A  description  of  the  lamp  is  given  on  next  page.  Its  action 
is  as  follows  : — 

The  current,  passing  up  the  column  and  through  the  electro- 
magnet to  carbon  holders,  at  once  causes  the  electro-magnet  to 
attract  the  keeper,  which  in  its  turn  lifts  the  clutch  at  each 
side,  and  causes  it  to  raise  the  carbon  holder  and  carbon,  the 
arc  is  established,  and  the  current  passes  through  the  lower 
carbon  holder  to  the  negative  binding  screw  and  through  the 
battery. 

The  moment  the  arc  becomes  too  long  the  electro-magnet  is 
weakened,  and  the  keeper,  clutch,  and  carbon  drop,  to  be  at 
once  snatched  up  again  by  the  re-invigorated  magnet,  and  the 
arc  is  again  formed. 

When  the  current  ceases,  the  keeper,  clutch,  and  carbon 


1.  Cast-iron  stand.  2.  Pillar  supporting  upper  carbon  mechanism,  made  of  brass 
tube  bent,  as  shown,  to  avoid  heat  of  arc ;  the  lower  end  is  secured  on  to  the  base  by  means 

of  brass  bolt,  screwed  inside  tube,  and 
nut  on  the  other  side  of  base.  The  upper 
end  holds  the  platform  4,  and  is  fastened 
to  it  in  the  same  manner  as  the  base 
connection.  A  hole,  large  enough  to 
admit  the  insulated  wire,  passes  through 
the  bolts  at  top  and  bottom  of  standard. 

3.  Lower  carbon  holder,  made  of  brass 
tube,  the  exact  size  of  carbon,  with  screw 
to  secure  it.  A  brass  angle  piece  is  sol- 
dered on  to  the  lower  part  of  holder,  and 
insulating  material— ebonite,  vulcanite, 
or  asbestos  card  of  the  shape  shown — is 
introduced  between  holder  and  stand. 
The  two  binding  screws,  9  and  10,  are  also 
insulated  from  the  base  in  like  manner, 
and  connection  is  made  between  9  and  3 
by  a  copper  plate  screwed  under  both. 

4.  Brass  platform,  supporting  electro- 
magnet and  upper  carbon  holder.  The 
brass  case,  covering  electro-magnet,  is 
soldered  on  to  the  platform,  on  all  sides, 
except  where  pillar  is  fastened.  The  lid 
of  case  is  fastened  to  case  with  three 
screws,  and  the  electro-magnet  is  screwed 
on  to  the  lid .  5 .  The  upper  carbon  holder, 
with  set  screw  and  ebonite  top,  slides  freely 
through  the  regulating  screw  and  the  top 
of  case,  and  is  guided  thereby.  6.  The 
electro-magnet,  of  the  type  known  as  a 
cylinder  magnet.  The  outer  pole  is 
screwed  on  to  the  inner  one  at  the  top, 
and  two  layers  of  insulated  copper  wire 
are  wound  inside.  7.  The  magnet  keeper 
is  a  washer  of  soft  iron,  guided  by  a  tube 
soldered  to  it,  and  working  upon  the  car- 
bon holder.  There  are  two  brass  fingers 
screwed  on  to  the  keeper  opposite  to  each 
other,  a  layer  of  paper  separating  magnet 
and  keeper.  8.  Clutch  is  a  washer  with 
raised  edge  inside,  split  through  the  centre 
and  hinged  on  each  side  of  carbon  holder ; 
it  is  just  large  enough  to  allow  the  carbon 
holder  to  slide  easily  through  it  when  the 
halves  are  in  one  plane,  but  the  moment 
it  is  raised  by  the  fingers  on  each  side  it 
grips  the  carbon  holder.  The  regulating 
screw  alters  the  lift  given  to  the  upper 
carbon ;  it  forms  a  table  for  the  clutch  to 
rest  on.  9.  Binding  screw,  insulated  from 
the  stand,  and  connected  with  lower  car- 
bon holder  by  copper  strap  underneath 
stand.  10.  Binding  screw,  insulated  from 
stand,  and  connected  with  upper  carbon 
holder  by  copper  wire,  with  one  end 
screwed  underneath  nut  of  binding  screw  ; 
the  other  end  of  wire  passing  up  the 
column  to  electro-magnet,  11.  The  flex- 
ible cord.  The  top  end  of  the  electro- 
magnet is  pierced  to  allow  of  the  insu- 
lated wire  passing  through,  and  one  end 
of  a  piece  of  flexible  cord,  composed  of  a 

great  number  of  small  copper  wires,  is  soldered  to  the  wire  from  the  electro-magnet 
which  projects  above  the  cover ;  the  other  end  of  the  flexible  cord  is  soldered  to  the  top- 
of  the  carbon  holder. 


MR.  W.  HARVEY  BARTON. 


171 


drop ;  the  keeper  rests  on  the  small  shelf  which  is  highest  on  the 
clutch,  the  clutch  rests  on  the  regulating  screw,  and  the  upper 
carbon  on  the  lower  one.  It  will  be  noticed  that  the  lower  car- 
bon is  slightly  in  advance  of  the  upper  one,  in  order  that  the 
glowing  crater  formed  by  the  arc  may  be  in  front. 

Both  carbon  holders  are  open  at  top  and  bottom,  to  allow  of 
any  length  of  carbon  being  used.  The  lamp  is  strong,  and, 
having  little  mechanism,  is  not  liable  to  get  out  of  order,  and  it 
can  be  easily  taken  to  pieces. 

The  binding  screws  are  shown  in  the  engraving,  for  the  sake 
of  clearness  in  explanation,  out  of  their  proper  places ;  they 
should  be  opposite  one  another  at  right-angles  to  a  line  drawn 
between  the  column  and  lower  carbon  holder. 

There  is  no  regular  feed  in  this  lamp,  as  the  regulations  of 
the  arc  will  be  few,  and  it  is  not  likely  that  one  would  occur 
during  the  time  the  lamp  was  used  for  the  photograph,  and  even 
if  a  regulation  did  occur,  it  would  be  so  quick  as  to  be  almost 
inappreciable. 


ME.  W.  HAEVEY  BABTON  AT  LLAN  HOUSE,  BBISTOL, 

"A  Bristol  Mansion  in  the  Olden  Time."  The  picture  is  so 
familiar,  we  need  scarcely  describe  it.  A  lofty,  narrow  building 
with  peaked  roof,  storey  above  storey  projecting;  queer  bay 
windows  of  mullioned  glass,  panels  and  quaint  wood- work 
everywhere,  and  a  prevailing  air  of  antiquity  that  calls  vividly 
to  mind  times  and  events  we  read  of  in  history.  Here  is  some- 
thing more  than  a  dusty  page  to  remind  us  of  days  long  ago. 
"With  the  picture  before  us,  we  can  people  the  old  house  again : 
the  grand  dame  with  her  hooped  skirt  and  peaked  bodice,  her 
high-heeled  shoes  and  flaxen  curls;  the  sedan  that  will  presently 
arrive  to  bear  her  ladyship  to  rout  or  card-party ;  the  yellow 
waxlights  in  heavy  candelabra  soon  to  illumine  the  windows. 
By-and-bye,  ancient  Dogberry  and  the  watch  will  come  their 
rounds,  and  call  the  hours  of  the  night.  There  is  no  vulgar 
lamp -post,  or  figure  in  modern  attire,  to  mar  the  delightful 
picture. 

It  is  such  a  scene  as  Charles  Dickens  would  have  loved — one 
of  those  forgotten  nooks  and  corners  the  great  novelist  always 


172 


STUDIOS  IN  ENGLAND. 


delighted  to  paint.  Indeed,  if  we  were  asked  to  compare  photo- 
graphers with  writers,  we  should  at  once  pronounce  Sir.  Harvey 
Barton  the  Charles  Dickens  among  photographers,  and  for  this 
reason :  not  only  does  the  Bristol  photographer  display  a 
reverence  and  loving  fondness  in  choosing  his  subjects,  but  he 
treats  those  subjects  as  though  he  loved  them.  He  is  but  their 
slave,  and  he  works  earnestly,  conscientiously,  indefatigably, 
and  with  his  whole  strength  and  will  to  do  the  best  he  can. 
Mr.  Barton,  in  his  true,  straightforward  manner,  sacrificing  all 
to  the  attainment  of  an  aitistic  result,  reminds  us  more  of 
He j lander  than  any  living  artist. 

"We  have  purposely  dwelt  upon  Mr.  Barton's  rare  treatment 
of  architectural  subjects,  rather  than  on  his  excellence  as  a  land- 
scape photographer  (and  only  those  who  know  his  sweet  summer 
pictures  are  aware  how  high  is  his  reputation  in  this  branch  of 
the  art),  because  it  is  in  architectural  photography  that  we 
possess  few,  very  few  masters.  The  difficult  technicalities  Mr. 
Barton  has  not  only  overcome,  but,  by  his  choice  and  treatment, 
he  manages  to  inspire  the  pictures  of  brick  and  stone  with 
sentiment  and  nobleness.  Look  at  the  lofty  tower  of  St. 
Stephen's  ;  it  is  delicately  and  harmoniously  limned  from  base  to 
spire ;  there  are  no  inky  shadows  below,  no  eating  in  of  the 
lights  on  high,  and,  above  all,  the  grace  and  elegance  of  its 
proportions  are  fully  displayed. 

We  cannot  tell  our  readers  how  Mr.  Barton  manages  to  breathe 
this  spirit  of  poetry  into  his  pictures,  but  we  can  do  this :  we 
can  place  before  them  the  subject  of  an  hour's  chat  with  a  , 
modest,  kindly  gentleman,  who  expressed  himself  over  and  over 
again  not  only  willing,  but  anxious,  to  place  at  the  disposal  of 
his  brethren  any  experiences  he  might  possess.  Our  first 
question  was  naturally  touching  the  fine  architectural  views  he 
had  produced,  and  we  are  sure  Mr.  Barton's  frank  statements 
on  this  subject  will  be  duly  appreciated  by  our  readers. 

"  I  am  afraid  I  hardly  work  in  accordance  with  acknowledged 
rules,"  said  our  friend.  "Many,  about  to  take  an  architectural 
subject,  begin  by  tilting  the  camera;  this  I  always  leave  to  the 
last.  I  first  choose  the  highest  station  I  can  find  (that  tower  of 
St.  Stephen's  was  taken  from  a  window  thirty  feet  from  the 
ground),  and  then  choose  the  longest  focus  lens  I  can  use.  The 
third  thing  is  to  raise  or  lower  the  lens  out  of  the  centre  of  the 
camera ;  I  do  not  know  whether  there  exists  in  this  country 


ME.  W.  HARVEY  BARTON. 


173 


another  apparatus  besides  my  own  that  permits  of  lowering  the 
lens  below  the  centre  ;  but  it  is,  nevertheless,  frequently  a 
matter  of  necessity.  Having  done  this,  I  finally  tilt  my  camera, 
and  adjust  the  swing-back." 

Mr.  Barton  then  proceeded  to  detail  other  important  points. 
Forty-five  degrees  is  a  convenient  angle  for  the  light  to  shine 
upon  your  object;  a  small  stop  must  be  used,  and  full  exposure 
given,  the  usual  stop  employed  with  a  26-inch  focus  lens  being 
from  J  to  f  inch.  One  of  Mr.  Barton's  lenses,  by  the  way,  has 
forty  inches  focus.  More  importance  still  is  attached  to  the 
character  of  the  collodion,  developer,  and  bath  employed.  Mr. 
Barton  employs  collodion  of  standard  makers,  sometimes  alone, 
sometimes  mixed ;  but  he  invariably  employs  this,  as  also  his 
iron  developer,  in  an  unusually  ripe  condition.  To  the  collodion 
he  always  adds  from  half  to  one  grain  of  bromide  of  cadmium 
per  ounce.  "The  faults  of  architectural  pictures,  the  inky 
shadows,  &c,  which  you  were  mentioning  just  now,"  said  Mr. 
Barton,  "  are  always  exaggerated  if  attention  is  not  paid  to  this 
subject."  The  collodion  must  be  yellow,  and  the  developer 
yellow ;  but  the  bath  must  be  as  fresh  as  may  be.  Mr.  Barton 
employs  a  shallow  horizontal  bath  (made  simply  of  pinewood, 
varnished,  with  its  crevices  filled  with  marine  glue),  and,  in 
busy  times,  he  makes  up  a  fresh  lath  every  day. 

"  I  always  think  doctoring  baths  waste  of  time,"  is  Mr.  Barton's 
opinion.  However,  he  does  two  things  invariably  to  ensure  a 
good  bath  :  he  fuses  his  silver  crystals  himself,  and  only  employs 
water  of  his  own  distillation,  sometimes  adding  permanganate  to 
the  water  before  it  is  distilled.  The  bath  is  fully  saturated 
with  iodide  before  beginning  to  work,  and  the  first  plate  im- 
mersed should  be  a  success.  A  new  bath  is  a  condition  to  the 
production  of  brilliant  and  harmonious  negatives. 

Here  is  Mr.  Barton's  battery  of  lenses,  and  here  is  his  range- 
finder,  or,  rather,  lens-finder.  The  lenses  are  contained  in  a 
compact  box;  here  is  the  single  landscape,  here  the  rapid 
rectilinear,  the  symmetrical,  the  wide-angle,  &c,  each  to  be 
used  upon  occasion.  As  we  have  said,  Mr.  Barton  employs  a 
long-focus  lens  when  he  can  ;  but,  like  all  of  us,  he  has  to  bend 
to  circumstances.  He  has  taken  up  his  station,  fixed  his  camera, 
and  has  now  to  choose  his  lens.  There  is  no  hesitation,  lor  his 
lens-finder  tells  him  at  once.    Here  is  a  description  of  it. 

There  is  a  brass  frame-work  (A) ;  this  embraces  the  picture 


174 


STUDIOS  IN  ENGLAND. 


you  are  to  take,  and,  as  you  hold  it  up  before  you,  you  make  it 
frame  the  view  you  want.  On  the  rod  (B)  slides  to  and  fro  a 
sort  of  back  sight  (C)  which  has  a  small  opening  for  the  eye. 


You  look  through  this  back  sight  at  the  frame  (A),  sliding  the 
back  sight  (C)  nearer  to  or  farther  from  A,  until  you  see  the 
whole  of  the  view  you  want.  This  done,  you  look  at  the  scale 
upon  the  rod,  and  according  where  the  back  sight  rests,  so  you 
choose  the  lens  indicated  on  the  scale.  The  instrument  is  a  very 
simple  one,  and  any  photographer  can  make  one  for  himself  in  the 
same  way  as  Mr.  Barton  did,  viz.,  by  practically  trying  every  lens 
with  the  instrument,  and  noting  the  result  on  the  rod  on  which 
the  back  sight  slides. 

Mr.  Barton  has  a  simple  and  ingenious  way  of  getting  rid  of 
vibration  from  a  drop-shutter  ;  it  is  to  provide  the  latter  with  an 
extra  leg  for  itself,  which  thus  renders  it  practically  independent 
of  the  camera.  This  spare  wooden  leg  is,  indeed,  a  valuable 
bit  of  apparatus,  for  it  serves,  too,  to  give  steadiness  to  a  large 
camera  when  this  is  pulled  out  to  its  full  extent,  and  requires 
extraordinary  support  behind. 

"Weha^ve  no  time  to  tell  of  Mr.  Barton's  big  apparatus,  his  tall 
solid  stands  (that  for  cathedral  work  is  some  fourteen  feet  in 
height),  for  there  are  the  printing,  mounting,  washing,  and 
emulsion  rooms  to  be  visited.  In  the  last,  Mr.  Barton  reverses 
the  order  of  things,  having  a  light  cupboard  in  a  dark-room, 
whither  he  can  retire  at  will.  The  mounting  is  done  in  a  some- 
what original  manner;  it  is  the  reverse  of  dry  mounting. 
The  prints,  still  wet,  are  brought  into  the  mounting-room,  and 
laid,  face  downwards,  on  linen  shelves,  placed  in  tiers  under  the 
mounting  counters.  Here  they  dry  flat.  The  large  mounts  of 
soft  card  are  moistened  over  their  entire  surface ;  a  girl  dips  a 


MR.  W.  H.  MIDWINTEE. 


175 


brush  into  hot  glue  (pale  Russian  glue  is  employed),  and  applies 
the  liquid  lavishly  to  the  mount,  without  confining  herself  to 
the  space  shortly  to  be  occupied  by  the  print.  The  latter  is 
similarly  steeped  in  the  transparent  liquid,  placed  upon  the  card- 
board, and  then  pressed  down,  and  the  superfluous  glue  removed 
with  a  squeegee. 

We  should  like  to  have  described  Mr.  Barton's  low,  sturdy 


tent  (Mr.  Barton  follows  Mr.  Francis  Bedford's  capital  plan  of 
sitting  down  at  work),  his  printing  arrangements,  his  travelling 
apparatus,  &c,  but  our  space  forbids.  "We  show,  however,  a 
sketch  of  the  tent,  which  will  at  once  demonstrate  its  stable  and 
convenient  character. 


ME.  W.  H.  MIDWINTER  AT  PARK  STREET,  BRISTOL. 

In  appointing  their  jurors  to  award  the  medals  of  the  Inter- 
national Exhibition,  the  Bristol  Photographic  Association  acted 
wisely  in  nominating,  among  others,  a  portraitist  in  the  town  of 
established  reputation.  Mr.  Midwinter's  portraits  would,  indeed, 
entitle  him  to  take  high  rank  in  the  metropolis  ;  but,  perfect  as 


176 


STUDIOS  IN  ENGLAND. 


they  are,  both,  from  an  art  and  technical  point  of  view,  it  is  not 
on  this  account  alone  that  we  introduce  Mr.  Midwinter's  studio 
to  our  readers.  It  is  more  because  the  little  establishment  of 
Midwinter's — for  it  is  not  a  large  one — is  one  of  the  most  finished 
and  perfect  ateliers  we  have  ever  seen,  and  is,  indeed,  in_many 
respects,  a  model  studio. 

If  you  want  a  thing  well  done,  do  it  yourself,  is  the  axiom 
adopted  by  Mr.  Midwinter.  The  studio  and  dark  rooms  have 
but  one  ruler.  "  Before  the  advent  of  gelatine  plates,  I  required 
the  services  of  two  assistants  ;  now  I  have  only  one.  Nobody 
seems  to  have  insisted  upon  the  saving  gelatine  has  worked  in 
this  direction,"  said  our  host;  "  gelatine  plates  save  me  the 
salary  of  a  junior  assistant,  and  this  is  a  matter  of  some  con- 
sideration in  a  small  establishment."  Mr.  Midwinter  is  so 
fervent  a  believer  in  gelatine,  in  fact,  that  he  has  not  a  silver 
"bath  in  the  house,  and  for  the  past  eighteen  months  has  employed 
none  but  the  gelatino-bromide  process. 

But  we  must  first  say  a  word  or  two  about  Mr.  Midwinter's 
portraits.  Had  we  to  describe  their  prevailing  feature,  we 
should  say  it  was  to  be  found  in  simplicity  of  pose.  The  back- 
grounds and  accessories,  when  apparent,  are  the  very  reverse  of 
elaborate,  and  the  pose  and  attitudes  chosen  appear  to  be  alto- 
gether unstudied  and  natural.  We  say,  appear  to  be,  because, 
as  everybody  knows,  the  less  one  sees  of  an  artist's  handiwork 
in  his  result,  the  more  modest,  unaffected,  and  pleasing  is  that 
result  likely  to  be.  How  few  photographers,  for  instance,  could 
pose  a  model  like  this  female  figure  on  the  easel !  She  stands 
before  you  a  supple  form,  full  of  grace,  her  arms  in  front  of  her, 
one  hand  simply  laid  upon  the  other.  Or,  turn  to  this  group, 
and  look  at  that  little  maiden  laughing  at  you — a  fresh,  girlish 
laugh,  like  a  burst  of  sunshine.  There  is  nothing  mechanical, 
tricky,  or  stagey  about  the  picture  ;  it  is  nature  itself. 

Our  readers  will  like  to  know  what  the  Bristol  public  pay  for 
good  portraits.  According  to  the  card  of  terms,  cartes-de-visite 
are  charged  from  ten  to  twelve  shilling  a  dozen,  large  heads 
being  at  the  rate  of  fifteen  shillings ;  while  cabinet  portraits,  if 
plain,  are  twenty  shillings,  and  vignetted,  thirty  shillings  a  dozen. 
Underneath,  we  are  glad  to  read  the  words  :  "  The  above  terms 
are  strictly  for  payment  at  the  time^of  sitting."  The  reverse  of 
the  card  of  terms  is  an  appointment  form,  in  which  the  date  and 
hour  require  to  be  filled  in  to  complete  it. 


MR.  W.  H.  MIDWINTER. 


177 


We  pass  into  the  studio.  It  is  the  lightest  and  brightest  we 
have  ever  seen.  The  whole  of  one  side,  barring  a  three-foot 
skirting-board,  is  of  glass,  and  the  sloping  roof  is,  to  a  great 
extent,  glass  also.  The  fact,  too,  that  the  ribs  and  frame- work 
of  the  structure  are  of  iron,  adds  further  to  its  light  and  airy 
nature.  A  pale  blue  paper  covers  the  walls,  and  as  there  is 
nothing  but  a  camera  at  one  end  of  the  studio,  and  two  or  three 
screens  at  the  other,  a  sense  of  space  and  freedom  prevails,  rarely 
to  be  met  with,  even  in  very  big  studios.  All  is  as  clean  and 
bright  as  a  new  pin,  qualities  that  photographers  might  certainly 
study  more  than  they  do. 

Our  visit  is  on  a  dull  December  day,  and  at  the  moment  Mr. 
Midwinter  is  availing  himself  of  all  the  light  he  can — a  lucky 
man,  indeed,  to  have  so  much  at  his  disposal. 

But  how  does  he  manage  to  subdue  the  illumination  in  fine 
weather,  it  will  be  asked  ?  In  the  first  place,  he  acts  after  the 
manner  of  many  Parisian  photographers  ;  he  can  stop  out  the 
top  light  by  a  system  of  blue  blinds  or  white  blinds,  or  even  both 
together.  Eoller  blinds  are  used  that  lap  one  over  the  other,  the 
blinds  at  the  top  pulling  down,  and  those  below  pulling  up. 
The  roof  is  neither  clear  nor  ground,  but  frosted  glass,  and 
with  very  good  effect.  This  frosting  Mr.  Midwinter  brings  about 
by  the  application  of  a  mixture  of  driers  and  oak  varnish,  to 
which  a  little  French  blue  is  added  to  take  away  the  yellowness. 
But  the  model  is  lighted — or,  rather  shadowed,  if  we  may  so* 
term  it — by  local  screens,  rather  than  by  the  window  blinds. 
On  the  light  side  of  the  sitter  is  a  fine  cambric  screen  similar  to 
that  employed  by  Mr.  Slingsby,  of  Lincoln,*  while  on  the 
shadow  side  is  a  screen  of  calico  with  a  canopy  at  the  top, 
bending  over  at  right  angles  above  the  sitter,  this  canopy  being 
heightened  or  lowered  at  will  to  suit  the  height  of  the  sitter. 
The  canopy  is  of  a  blue  or  slate  colour,  and  so  that  our  readers 
may  more  fully  understand  its  nature,  we  give  a  sketch  of  the 
whole  structure.  By  the  aid  of  these  screens  the  local  lighting, 
of  the  model  is  easily  controlled. 

Mr.  Midwinter's  experience  of  his  studio  and  the  light  therein 
permits  him  to  develop  with  singular  constancy.  His  rule  is 
to  develop  invariably  for  sixty  seconds,  and  he  holds  a  negative 
to  be  unduly  exposed  that  does  not  give  a  good  result  with  this 


See  Mr.  Slingsby  at  Lincoln. 


178  STUDIOS  IN  ENGLAND. 

constant  treatment.  He  has  learnt  to  know  his  developer  so 
-well  that  he  prefers  to  take  this  as  his  starting  point,  and  to 
make  other  conditions  bend  to  it.    He  employs  a  pyrogallic 


The  structure  consists  of  two  side  screens,  one  above  the  other,  and  an  over- 
hanging or  head  screen.  Of  the  two  side  screens,  the  lower  one  remains 
stationary,  but  the  other  one,  which  overlaps,  may  be  made  to  rise  to  its  full 
extent ;  in  our  sketch  it  is  half-way  up.  The  structure  may,  in  fact,  be 
raised  to  8  feet,  or  lowered  to  4  feet.  The  head  screen  rises  and  falls  with 
the  side  screen,  and,  provided  with  the  lever  arrangement  shown  in  the 
sketch,  may  be  made  to  assume  any  angle.  The  lower  cord  raises  or  lowers 
the  side  screen,  and  the  upper  cord  regulates  the  angle  of  the  head  screen  or 
canopy. 

developer,  but  uses  only  half  the  quantity  of  pyrogallic  set  down 
by  standard  makers  in  their  formulae.  When  results  are  not  as 
they  should  be,  he  does  not  vary  his  development,  but  prefers  to 
alter  the  lighting  or  time  of  exposure.  Mr.  Midwinter  lays 
great  importance  on  the  circumstance  of  having  one  condition  in 
the  preparation  of  a  negative  always  constant. 

The  employment  of  gelatine  plates  is  not  the  only  economy 
Mr.  Midwinter  practises.  He  employs  nothing  but  albumenized 
paper  ready  sensitized  for  printing,  and  avows  that  the  tones  and 
quality  of  his  pictures  are  fully  equal  to  paper  sensitized  at  home ; 
so  that  he  neither  requires  a  sensitizing  bath  for  plates  or  paper. 
The  printing  rooms  and  washing  rooms,  all  in  apple-pie  order, 
are  distinguished  for  the  same  brightness  and  cleanliness  we  have 
before  remarked  upon — qualities,  we  believe,  inseparably  con- 


MESSES.  RUSSELL  AND  SONS. 


179 


neeted  in  the  minds  of  tidy  housewives  with  the  fact  that  you 
can — if  you  like — eat  your  dinner  off  the  floor. 

Mr.  Midwinter  shows  us  his  washing  trays  and  dishes.  They 
are  self-made ;  a  frame-work  of  wood,  with  a  sheet  of  plate  glass 
let  in,  not  at  the  bottom  of  the  frame,  but  only  half  way  down, 
so  that  each  utensil  is  a  double  dish.  You  might  employ  one 
side  for  a  hyposulphite  solution,  and  having  done  with  the  liquid, 
and  thrown  it  out,  turn  over  the  bath,  and  employ  the  other  side 
for  developing  dry  plates  in  pyrogallic  solution.  There  is  thus 
no  fear  of  contamination.  A  glass  plate  bottom  being  perfectly 
flat  permits  of  employing  much  less  liquid  than  is  necessary  in 
the  ordinary  bath.  A  shellac  varnish  applied  to  the  woodwork 
protects  it  from  the  action  of  any  liquid  with  which  it  may  come 
into  contact. 


MESSRS,  RUSSELL  &  SONS  AT  WORTHING. 

The  judges  at  the  Pall  Mall  Road  Exhibition  recently  awarded  a 
medal  to  Messrs.  Russell  and  Sons,  of  "Worthing,  the  particular 
picture  securing  the  honour  being  a  group  of  three  ladies  posed 
with  rare  grace  and  skill.  This,  coupled  with  another  excellent 
picture — that  of  a  rough  countryman  laughing  and  showing 
every  tooth  in  his  head,  a  laugh  so  infectious  that  you  could  not 
pass  the  portrait  without  laughing  too — showed  what  good  work 
could  be  done  in  Messrs.  Russell's  studio,  and  we  were  very  glad, 
therefore,  when  opportunity  permitted  us  to  pay  it  a  visit.  The 
two  pictures  we  have  alluded  to  were  so  excellent  that  the 
judges  must  have  had  some  difficulty  in  selecting  the  one 
to  which  the  green  label  "medal"  should  be  attached;  they 
chose,  as  we  have  said,  the  group.  We  should  have  chosen  the 
other. 

This  couutryman  picture  deserves  just  a  word  of  comment.  It 
was  the  work,  we  believe,  of  Mr.  Eielder,  the  principal  assistant 
of  Messrs.  Russell  and  Sons,  and  was  forwarded  to  the  Exhibi- 
tion as  a  result  which  had  received  "  not  a  touch  on  the  negative, 
nor  a  touch  upon  the  print."  Now  this  is  a  very  important 
point,  but,  unfortunately,  the  information  was  by  some  oversight 
omitted  from  the  catalogue.    Had  the  fact  been  duly  chronicled, 


180 


STUDIOS  IN  ENGrLAND. 


not  only  the  judges,  but  the  visitors  too,  would  have  taken  much 
more  interest  in  the  picture,  for  although  no  objection  may  be 
raised  to  moderate  retouching,  the  absence  of  any  working  up — 
all  things  being  equal — adds  obviously  to  the  value  of  a  photo- 
graph. We  mention  this  not  for  the  purpose  of  questioning  the 
judges'  dictum,  nor  on  behalf  of  Mr.  Fielder — for  to  that  gentle- 
man was  due  the  production  of  both  studies — but  simply  to  show 
the  desirability  for  publishing  the  fact  of  a  picture  being  un- 
touched when  this  is  really  the  case.  Naturally,  the  artist  prides 
himself  a  good  deal  upon  this  circumstance,  and  yet,  despite  its 
importance,  it  is  ignored  altogether.  As  to  the  jovial  country- 
man himself,  with  his  flowered  waistcoat  and  unkempt  hair,  we 
may  add  something  else,  only  our  readers  must  take  what  we  tell' 
them  in  the  strictest  confidence.  The  countryman  is  an  old  hand 
at  making  people  laugh,  and  that  is  why  he  succeeds  so  well  in 
the  picture  ;  it  is  Mr.  Harry  Poulton,  the  comedian. 

Messrs.  Russell's  studio  is  a  spacious  oblong  apartment,, 
measuring,  perhaps,  30  feet  by  16  feet.  It  has  a  northerly  light, 
which  is,  however,  only  permitted  to  enter  in  moderation.  There 
is  a  skirting-board  four  feet  high,  while  practical  blinds  are 
capable  of  shutting  out  the  side  light.  It  is  the  top  light  that  is 
most  employed  for  illumination,  but  the  glass  here  does  not 
reach  to  the  apex  of  the  roof.  Therefore  the  light  above  is  not 
strong,  since  it  comes,  so  to  speak,  from  a  window  in  the  roof, 
and  not  through  one  whole  half  of  the  roof  itself;  moreover,  the 
glass  is  rough  and  not  clear.  The  curtains  to  admit  the  side 
light  are  adjusted  when  the  model  is  seated  ;  those  nearest  the 
sitter  are  light,  and  they  get  darker  towards  the  camera  end  of 
the  room.  "  Pronounced  shadows  and  high  lights  should  be  in 
every  picture,"  says  Mr.  Fielder;  "  but,  of  course,  you  want 
something  besides  black  and  white." 

For  taking  any  photograph  above  the  size  of  a  carte  or  cabinet,. 
Dallmeyer's  rapid  rectilinear  for  10  by  8  pictures  is  here  used, 
an  instrument  which  Mr.  Dallmeyer  himself,  singularly  enough, 
simply  recommends  "  for  general  use  out-of-doors."  For  the 
panel  or  promenade  style,  as  we  ourselves  can  testify,  the  lens  is 
excellent,  rendering  drapery  on  the  margin  of  the  picture  with 
marvellous  Fritz  Luckhardt-like  detail.  There  is  an  ordinary 
chimney-piece  and  fender  in  the  studio,  and  this  is  made  to  do 
duty  with  good  effect,  both  in  winter  and  summer ;  only,  so  it 
seemed  to  us,  it  was  the  lady  who  affected  the  mantelpiece  and 


MESSKS.  RUSSELL  AND  SONS. 


181 


mirror  in  the  summer  time,  and  the  gentleman,  with  his  foot 
on  the  fender,  in  winter. 

Of  backgrounds  there  were  very  few  in  the  studio,  but  a  snow 
landscape  deserved  attention.  The  trunk  of  a  tree  with  matted 
snow  on  one  side,  as  the  result  of  a  drifting  storm,  was  a  promi- 
nent feature,  but  the  white  landscape  was  not  overdone ;  the 
flooring  was  of  canvas,  with  a  few  roughly-marked  foot-prints, 
and  cotton-wool  was  employed  to  add  to  the  effect.  A  grass 
ground  was  also  very  clever,  made  of  green  silk  threads — one  of 
Atkinson's,  we  were  told — and  with  this  some  good  recumbent 
models  had  been  photographed  :  gentlemen  lying  at  their  ease  on 
the  sward,  reading  and  smoking.  "  We  have  all  sorts  of  possible 
and  impossible  accessories,' *  said  our  host,  " pointing  to  a  large 
stock  of  furniture,  "  but  we  like  to  employ  them  as  little  as 
possible  now-a-days." 

The  silver  bath  has  been  for  some  time  past  dispensed  with  at 
the  Worthing  studio,  and  only  gelatine  is  employed ;  and  this, 
strange  to  say,  without  any  alteration  to  the  dark  room.  This 
has  an  orange-stained  window  and  two  tammy  curtains.  But 
the  relief  in  being  able  to  do  without  collodion  was  beyond  de- 
scription. The  dark  room  is  on  the  roof,  and  therefore  exposed 
to  the  action  of  the  sun,  the  consequence  being  that  in  summer 
the  ether  and  alcohol  fumes  were  well-nigh  insupportable. 
"  Only  those  who  work  in  a  dark  room  like  this,' 7  said  our  host, 
"  can  appreciate  the  value  of  gelatine  plates.  The  health  ques- 
tion alone  would  be  enough  to  bring  gelatine  into  favour." 

Messrs.  Russell  and  Sons  print  a  proportion  of  their  work  in 
carbon  by  the  so-called  chromotype  method,  "  but  it  requires  a 
very  good  negative  to  stand  it,"  we  were  assured.  Beside  the 
printing  room  is  an  open  flat  roof  that  serves  as  an  out-door 
waiting  room  for  visitors.  "We  thought  of  M.  Liebert's  "  terrasse 
d'agrement,"  where  models  in  waiting  smoke  their  cigarettes ;  if 
he  could  only  secure  a  prospect  like  this,  the  bright  expanse  of 
sea,  the  green  waves  and  white  cliffs  extending  as  far  as  Beechey 
Head,  our  Parisian  confrere  would  be  happy  indeed. 

Gelatine  plates  have  given  little  difficulty  in  the  experience  of 
Messrs.  Russell.  Never  to  proceed  with  a  batch  if  the  first  or 
second  film  turns  out  questionable,  is  the  invariable  rule  followed, 
and  in  this  way  much  trouble  and  worry  are  saved.  Gelatine 
plates,  when  good,  are  simple  and  easy  to  work,  and  when  they 
;  give  trouble,  the  fault,  nines  times  out  of  ten,  lies  in  imperfect 


182 


STUDIOS  IN  ENGLAND. 


preparation.  Therefore,  rather  than  lose  precious  time  in  attempt- 
ing to  secure  an  inferior  result  with  a  second-class  plate,  the 
questionable  batch  is  put  on  one  side  and  returned.  When  the 
developer  is  once  fairly  at  work  on  the  film,  one  or  both  of  the 
tammy  blinds  are  drawn  up,  and  the  manipulation  proceeds 
behind  a  single  thickness  of  orange  glass.  From  this  it  will  be 
seen  that  Messrs.  Eussell  and  Sons  do  not  prepare  their  own 
plates.  They  give  two  reasons  for  this,  and  it  must  be  admitted 
that  they  are  good  ones.  In  the  first  place,  they  are  quite  satis- 
fied with  the  films  that  they  purchase ;  and  in  the  second  place, 
the  time  of  their  establishment  is  already  fully  occupied  in 
camera  and  printing  work,  So  long  as  it  is  possible  to  obtain 
trustworthy  films  at  a  reasonable  rate,  say  Messrs.  Eussell,  we 
shall  prefer  to  leave  the  difficult  work  of  preparing  gelatine 
emulsion  to  others.  They  are  very  proud  of  their  mounting 
material  at  the  Eussell  studio ;  as  at  many  other  establishments, 
the  mounting  of  pictures  caused  a  good  deal  of  trouble  and 
anxiety,  but  these  have  not  been  known  since  the  employment 
of  a  material  proposed  in  one  of  our  Yeak-Books.  Since  that 
time  the  Messrs.  Eussell  have  never  employed  any  other  mate- 
rial, and  seeing  it  has  given  so  much  satisfaction,  we  take  this 
opportunity  of  repeating  its  composition  : — 

Best  Bermuda  arrowroot   ounces 

Water   .  28  „ 

Sheet  gelatine  or  glue     ...       ...       .,.160  grains 

Methylated  spirit  ...       ...       ...       ...    2  ounces 

Pure  carbolic  acid    .       ...       ...       ...  12  drops 

Mix  the  arrowroot  with  six  ounces  of  water  into  a  paste,  then 
add  22  ounces  of  water  and  the  gelatine.  Boil  and  stir  for  three 
or  four  minutes,  then  let  it  partly  cool.  Finally,  add  carbolic 
acid  and  spirit ;  keep  stirring  till  properly  mixed. 


STUDIOS    IN  SCOTLAND. 


ME.  JOHN  FEEGUS'  STUDIO  AT  LAEGS. 

"When  we  first  projected  a  visit  to  Scotland,  with  a  view  to 
seeing  some  of  the  principal  studios  north  of  the  Tweed,  we  made 
inquiries  not  only  in  the  photographic  world,  but  also  outside  that 
circle,  with  the  object  of  eliciting  opinions  as  to  the  most  profit- 
able way  of  spending  our  time.  Strange  to  say,  a  most  singular 
unanimity  prevailed.  Professional  and  non-professional  opinions 
all  centred  upon  one  name,  and  that  was  Mr.  John  Fergus,  of 
Largs. 

"Where  was  Largs  ?  A  place  called  Lairg  we  knew,  many 
miles  north  of  Inverness,  for  we  visited  it  two  summers  ago, 
walking  thence  on  foot  over  the  breezy  moorland  and  purple 
heather,  by  heaven-blue  lakes  and  silvery  crags  to  the  extreme 
north-west  of  Scotland — Cape  "Wrath — a  promontory  of  red 
granite  rising  steeply  out  of  the  fretful  waves.  Mo,  it  was  not  so 
far  north  as  that,  we  were  told.  You  went  to  Glasgow,  and 
afterwards  by  rail  to  Wemyss  Bay  ;  thence  it  was  another  seven 
miles  to  Largs,  but  there  was  no  rail,  and  a  carriage  or  boat 
became  necessary.  To  put  it  roughly,  it  would  cost  a  Londoner 
a  journey  of  nearly  a  thousand  miles,  or,  at  any  rate,  nine  hun- 
dred, to  go  to  Largs  and  back. 

But  if  the  journey  was  sure  to  be  a  long  one,  it  was  equally 
certain  that  we  must  not  attempt  to  sketch  the  studios  of  Scotland 
without  including  in  the  number  Mr.  Fergus'  establishment. 
Nay,  so  highly  esteemed  is  Mr.  Fergus'  name  by  one  and  all  in 
North  Britain,  that  it  is  but  a  matter  of  course  that  in  attempting 
to  describe  Scotch  studios,  a  sketch  of  his  must  of  necessity  come 
first. 

We  land  from  one  of  the  Clyde  steamers.  Largs,  apparently, 
is  a  fishing  village,  but  is  a  modest  little  watering  place  as  well, 
though  scarcely  so  well-known  as  Rothsay,  Millport,  and 
Dunoon,  hard  by.  It  looks  something  like  a  Normandy  port. 
There  are  a  few  shops  on  the  quay,  and  a  "  Temperance  Hotel" 
painted  the  colour  of  cafe  au  hit.  We  walk  up  the  main  street, 
consisting  of  half-a-dozen  shops  on  either  side,  and  thence  pro- 
ceed through  the  village  of  quaint  one-storied  dwellings.    Not  a 


184 


STUDIOS  IN  SCOTLAND. 


sign  of  a  studio  is  there,  so  we  pass  on  until  we  get  into  the  open 
again.  "We  cross  a  bridge,  and  come  upon  a  country  road,  the 
houses  getting  few  and  far  between.  Indeed,  we  are  growing 
despondent,  when,  at  a  turning  to  the  right,  affixed  to  a  blank 
wall,  we  find  a  modest  little  direction — "  To  Mr.  Fergus' 
Studio." 

It  is  a  house  standing  in  its  own  grounds — so  quiet  and 
secluded,  it  might  be  a  hermitage.  But  the  spot  is  typical  of  its 
master.  Mr.  Fergus  does  not  court  publicity.  He  trusts  to  his 
work  alone  to  bring  him  clients,  and  labours  on  quietly  without 
occupying  himself  with  aught  else.  He  has  no  other  studio 
than  this  at  Largs,  where  he  has  been  working  conscientiously 
for  twenty  years  past.  Those  who  desire  to  be  pourtrayed  by 
Mr.  Fergus  must  journey  to  Largs.  To  within  the  last  year  or 
so,  Mr.  Fergus  has  been  his  own  chief  operator,  audit  is  only  by 
reason  of  severe  domestic  affliction  that  we  find  him  absent  at 
this  moment. 

"We  enter  the  gallery.  It  is  a  fine  lofty  hall,  with  a  Gothic 
roof,  built  of  polished  pine.  The  same  wood  is  in  the  passages 
and  corridors,  and  makes  a  handsome  flooring.  Everything  is 
very  neat,  and  exquisitely  bright  and  clean.  The  hall  and  cool 
corridors  are  hung  not  only  with  photographs,  but  with  many 
choice  paintings  ;  and  at  intervals  are  marble  statuettes  and  fresh 
blossoms  to  add  still  further  to  the  brightness  and  charm  of  the 
establishment.    Our  plan  here  (fig.  1.)  is  but  a  rough  one,  made 


0££i* 


GALLERY 


CORRIDOR 


ROOMS- 


STUDIO  [  STUDIES  STUD  Iff 


5 


Fig.  1. 


from  memory,  but  it  will  convey  some  idea  of  the  disposition  of 
the  establishment.  From  the  gallery  leads  a  corridor  to  a  flight 
of  steps,  by  which  a  longer  and  larger  passage  is  reached  Con- 


MR.  JOHN  FERGUS. 


185 


nected  with  this  second  corridor  is  a  series  of  five  dressing  rooms, 
all  elegantly  appointed,  the  rooms  leading  by  other  doors  to  the 
studios,  of  which  there  are  three. 

Mr.  Fergus'  principal  work  is  the  cabinet  portrait.  An  in- 
spection of  a  series  of  these  at  once  proclaims  the  master.  The 
portraits  are  simple  in  pose — soft,  and  of  exceeding  brilliancy. 
Indeed,  we  have  rarely  seen  such  brilliant  photographs.  They 
are  without  glaze,  but  printed,  evidently,  on  very  thickly- 
albumenized  paper,  Mr.  Fergus  showing  a  predilection  for  a  sur- 
face having  a  slightly  roseate  hue.  Many  of  the  portraits  have 
plain  backgrounds ;  none  of  them  show  elaborate  accessories. 
Much  taste  is  evident  in  the  disposal  of  drapery,  and  the  flowing 
robes  of  a  model  are  marked  with  harmony  and  detail  to  the 
extreme  margin  of  the  picture.  Yet  it  must  not  be  thought  that 
Mr.  Fergus  strives  after  effect  by  means  of  gorgeous  raiment ; 
the  most  charming  study  we  saw  was  the  simple  portrait  of  a 
widow  lady  attired  in  weeds  and  crape-trimmed  dress.  The 
hair,  streaked  with  silver,  and  the  pale  features,  were  limned  with 
rare  taste  and  delicacy,  and  in  perfect  harmony  with  the  white 
cap  and  black  dress ;  there  was  plenty  of  vigour,  and  yet  no 
violent  contrasts. 

Mr.  Fergus'  charges  for  cabinet  portraits  are  a  guinea  for  the 
proof  copy,  and  half  a  crown  for  every  subsequent  print.  For 
cartes,  a  charge  of  eighteen  shillings  per  dozen  is  made ;  and  for 
the  Imperial  portrait,  in  size  about  twice  as  big  as  the  cabinet, 
the  proof  copy  is  charged  £3  3s.,  and  every  subsequent  print 
five  shillings. 

"We  pass  on  to  the  studio,  and,  as  we  do  so,  cannot  help 
admiring  the  perfect  manner  in  which  the  establishment  has 
been  designed  and  fitted.  A  most  complete  system  of  electric 
bells  finds  place  in  the  establishment,  so  that  the  chief  has  literally 
every  employe  under  his  thumb.  The  cool  air  comes  through  an 
open  window  at  the  end  of  the  white  corridor,  and  we  can  look 
out  upon  the  sunny  grounds,  the  red  gravel  walks,  and  dark 
shrubbery  that  surround  the  house.  "We  know  not  whether  the 
casual  visitor  is  permitted  access  to  Mr.  Fergus'  charming  gar- 
den ;  but  we  doubt  much  if  any  other  photographer  in  the  world 
owns  such  a  delightful  residence.  Through  the  dark  foliage  of 
fir  and  laurel  are  seen  glimpses  of  the  blue  waters  of  the  Firth 
of  Clyde,  while  above  rise  the  smooth  green  hills  of  Ayrshire — 
4t  Burns'  ain  countrie." 


186  STUDIOS  IN  SCOTLAND. 

The  studios  are  light  and  lofty.  From  our  roughly-sketched 
section  (fig.  2.)  some  idea  may  be  gleaned  of  their  character.  On 


Fig.  2. 

The  thick  b]  ,ck  lines  represent  opaque  wall ;  the  shaded  lines  dull  glass ;  the  open  lines 

clear  glass, 

the  light  side  there  is  dull  glass  rising  to  about  twelve  feet ; 
above  that,  the  glass  is  clear,  while  on  the  shadow  side  there  is 
also  some  four  feet  of  clear  glass  for  top  light.  It  goes  without 
saying  that  the  studio  is  not  made  use  of  (except,  perhaps,  in  dull 
wintry  weather)  with  all  this  light  flooding  into  it,  but  that  both 
curtains  and  screens — the  latter  especially — are  made  use  of  to 
modify  and  subdue  the  wealth  of  light  at  the  photographer's  dis- 
posal. Mr.  Fergus  takes  few  negatives  bigger  than  cabinet  size, 
and  if  larger  portraits  are  necessary,  these  are  made  in  the  usual 
way*  by  enlarging  and  printing  in  pigments. 

The  wet  process  still  lives  at  Largs,  and  seeing  the  beautiful 
results  that  have  been  secured  by  collodion,  and  the  success 
which  it  has  brought  in  its  train,  the  silver  bath  is  scarcely  likely 
to  be  neglected  for  some  time  yet.  Gelatine,  however,  has 
knocked  at  the  door  here,  as  at  every  studio  throughout  the 
country,  and  has  received,  if  not  a  hearty  welcome,  at  any  rate 
respectful  attention.  But  Mr.  Fergus'  work  is  carried  on  so 
quietly  and  methodically,  that  innovations  have  not  the  same 
influence  at  Largs  as  elsewhere. 

One  can  scarcely  leave  Mr.  Fergus'  establishment  without 
feeling  pleasure  in  the  fact  that  good  reward  has  followed  good 
work.    Says  Addison : — 

u  'Tis  not  in  mortals  to  command  success, 
But  we'll  do  more,  Sempronius,  we'll  deserve  it. ' 


MR.  MARSHALL  WANE. 


187 


Mr.  Fergus  certainly  deserves  the  success  he  has  gained,  and 
we  are  happy,  indeed,  to  find  the  reward  has  been  so  abundant. 
If  we  were  now  asked  the  question,  "  Where  is  Largs?  "  we 
should  unhesitatingly  reply,  "  Where  Mr.  Fergus'  studio  is." 


ME.  MARSHALL  WANE  IN  EDINBURGH. 

Tbjj  first  in  our  series  of  Scotch  studios — that  of  Mr.  Fergus, 
at  Largs — was  selected  by  vote ;  this  (the  second)  we  chose 
ourselves.  Nevertheless,  we  shall  take  little  credit  for  our  dis- 
crimination, for  the  name  of  Mr.  Marshall  Wane  has  been  so 
long  a  household  word  in  photographic  circles,  that  to  visit  the 
city  of  Edinburgh  without  entering  Mr.  Wane's  studio  would 
have  been  foolish  indeed.  We  do  not  know  exactly  how  many 
medals  Mr.  Wane's  magnificent  pictures  have  brought  him,  but 
we  counted  at  least  five  gold  ones  among  the  emblems  of  honour 
he  has  won  ;  and  those  who  are  familiar  with  his  work  will  not, 
we  are  quite  sure,  grudge  him  the  possession  of  them. 

Mr.  Marshall  Wane's  studio  in  George  Street  ranks  second  to 
none  in  the  kingdom.  The  handsome  pair  of  rooms  on  the  first 
floor,  which  contain  examples  of  Mr.  Wane's  art,  make  a 
magnificent  show,  and  especially  for  this  reason :  his  portraits 
are  not  only  executed  with  taste  and  artistic  effect,  but  they 
are  of  grand  proportions.  What  say  our  readers  to  studies  taken, 
direct  from  life  measuring  24  by  20  inches,  possessing  all  the 
vigour,  brightness,  and  finish  we  are  wont  to  see  in  first-class 
small  work  ?  Mr.  Wane  seems  as  used  to  plates  of  these  Erob- 
dignagian  dimensions  as  if  he  had  handled  them  all  his  life. 
There  are  a  dozen  examples  of  portraits  in  the  gallery  of  these 
dimensions,  and  their  breadth,  atmosphere,  and  rich  shadows  are 
wonderful.  Look  at  the  brilliancy  and  purity  of  tone  of  this 
series  of  fancy-dress  portraits,  all  taken  direct  on  24  by  20  plates. 
Here  is  a  Madame  Pompadour,  the  blue  and  pink  satin  represented 
by  delicate  grey  and  almost  purple  tones ;  and  here  a  running, 
footman  of  the  olden  time,  with  shining  black  hat  and  white 
gloves.  They  are  but  monotone  prints,  but  the  richness  and. 
harmony  to  tone  seem  to  compensate  for  the  absence  of  colour. 
A  portrait  of  Miss  Carlotta  Leclerq,  in  a  dress  presumably  of 


188 


STUDIOS  IN  SCOTLAND. 


damask  satin,  also  deserves  mention.  The  sheen  of  the  satin  is 
delightful;  and  the  damask  figures  in  robe,  according  as  the 
light  strikes  them,  and  makes  them  appear  sharp  or  hazy  of 
outline,  are  particularly  effective,  leading  one  almost  to  suppose 
that  a  clever  painter  must  have  been  at  work  on  the  drapery. 
Mr.  "Wane,  of  course,  make  use  of  gelatine  in  the  production  of 
these  fine  pictures,  and  it  is  certainly  putting  the  "new  power  " 
to  good  purpose.  During  our  visit  one  of  these  monster  plates  was 
exposed ;  a  cabinet  picture  was  first  secured  as  a  trial-plate — for 
it  was  a  new  batch  of  gelatine  films — and  then  the  bigger  plate 
was  put  in  the  camera  and  exposed.  Dallmcyer's  8d,  a  lens  of 
eight  inches  calibre,  was  used,  with  an  exposure  of  fifteen  seconds. 
We  may  mention,  by  the  way,  that  Mr.  Wane's  studio  experi- 
ence of  gelatine  plates  is,  that  they  are  practically  from  four  to 
five  times  as  rapid  as  wet  collodion. 

A  forcible  portrait  of  Sir  H.  Lock,  the  Governor  of  the  Isle  of 
Man,  is  a  picture  of  which  Mr.  Wane  may  be  justly  proud,  the 
modelling  of  the  hands  and  vigorous  rendering  of  the  beard 
being  masterly.  "  I  think  Mr.  Wane's  photographs  wonderfully 
good,"  is  a  dictum  bearing  the  signature  "  Louise  Lorne ;  "  and 
we  make  so  bold  as  to  echo  Her  Royal  Highness' s  opinion ;  only, 
if  we  remain  here  in  the  gallery  all  day,  we  shall  never  get  a 
peep  behind  the  scenes. 

There  are  two  studios,  and  they  arc  both  of  them  very  roomy. 
There  is  little  furniture  about,  and  all  of  it  is  real  and  sub- 
stantial. In  Edinburgh  there  is  plenty  of  light,  and  consequently 
it  may  be  screened  off  without  compunction.    Mr.  Wane,  on  the 


Fig.  1. 


light  side  of  his  studio,  uses  a  double  tier  of  screens,  one  above 
the  other,  each  screen  measuring  about  four  feet  square  ;  the 
screens  fit  into  grooves  against  the  glass,  and  so  slide  to  and  fro 
at  will.  The  roof  (see  fig.  1)  is  raised  in  the  centre,  so  as  to 
give  additional  height,  an  arrangement,  in  Mr.  Wane's  opinion, 


MK.  MARSHALL  WANE. 


189 


that  permits  of  more  effective  lighting  under  certain  circumstances. 
The  dressing  rooms  are  fitted  with  Japanese  mirrors,  viz.,  a 
mirror  in  front,  with  others  on  hinges  at  each  side  thereof. at 
right  angles — certainly  the  most  favourite  form  of  looking-glass 
with  ladies. 

This  is  the  finishing  room.  Mr.  Wane  uses  fresh  paste  for 
mounting,  and  eschews  black  cards.  As  each  picture  of  carte  or 
cabinet  size  is  finished,  it  is  put  into  a  large  table  drawer,  of 
which  there  are  several  divided  into  small  partitions  or  nests. 
The  partitions  have  a  little  nitch  cut  into  the  side,  so  that  the 
cards  may  easily  be  lifted  out  and  counted  at  any  moment.  As 
soon  as  the  number  of  cards  is  complete,  and  the  order  satisfied, 
they  are  taken  out  and  sent  off.  By  this  table-drawer  arrange- 
ment, the  chief  can  always  inspect  the  state  of  an  order  at  any 
time,  examine  the  work,  and  know  how  far  it  has  progressed. 

Upstairs  are  the  enlarging,  printing,  and  washing  rooms.  In 
Mr.  "Wane's  establishment  the  scissors  are  used  for  trimming 
prints,  the  cuttings  being  collected  every  day  and  burnt,  so  as  not 
to  get  trodden  on  and  dirtied.  In  one  of  the  rooms  the  fire-place 
has  been  removed,  and,  in  lieu  thereof,  an  iron  box  measuring 
about  24  by  18  inches,  and  some  twenty  inches  deep,  is  located, 
into  which  the  cuttings  are  put  and  ignited.  This  is  not  only  a 
most  tidy  arrangement,  but  an  economical  one  into  the  bargain. 

Mr.  "Wane  washes  his  prints  in  a  revolving  cylinder,  with  the 
nature  of  which  some  of  our  readers  are  familiar.  After  the 
pictures  have  been  fixed,  and  rinsed  in  three  or  four  changes  of 
water,  Mr.  "Wane  professes  to  wash  them  in  twenty  minutes ; 
and  we  are  bound  to  say  that  some  prints  we  took  away  with 
us,  and  examined  for  hyposulphite  t  of  soda  by  the  well-known 
iodide  of  starch  test,  proved  quite  free  from  that  compound. 
The  washing  apparatus  consists  of  a  drum-like  cylinder,  perhaps 
two  feet  in  diameter  and  three  feet  long.  It  is  placed  in  a 
horizontal  position,  as  shown  in  our  sketch  (fig  2,  page  190). 

The  outside  cylinder,  A,  is  simply  a  casing  of  tin  to  keep  in 
the  water  ;  the  inside  cylinder,  B,  that  revolves,  is  a  few  inches 
smaller  than  the  exterior  one,  and  it  is  simply  a  frame-work 
covered  with  a  twine  netting.  If  you  look  inside  the  apparatus 
when  it  is  at  work,  you  see  this  inside  skeleton  cylinder,  B, 
revolving  rapidly,  upon  the  net- work  being  laid  prints  in  the 
act  of  washing.  These  prints  are  washed  in  a  two-fold  manner. 
Water  is  squirted  upon  them  in  the  form  of  little  jets,  and  this 


190 


STUDIOS  IN  SCOTLAND. 


water  is  again  thrown  off  by  centrifugal  force,  as  the  skeleton 
drum  bearing  the  prints  rapidly  revolves.  In  fact,  the  machine 
sot  only  washes  the  prints,  but,  at  the  end  of  the  operation,  when 
the  water  is  turned  off,  it  goes  a  good  way  towards  drying  them? 


Fig.  2. 


for  as  the  drum  continues  to  revolve,  the  water  is  thrown  off  the 
wet  pictures.  The  outside  cylinder,  or  jacket,  as  we  have  said, 
is  simply  for  the  purpose  of  preventing  the  water  thrown  off  by 
centrifugal  force  being  sent  into  every  corner  of  the  apartment. 

The  water  is  supplied  by  two  iron  tubes  pierced  with  small 
holes,  which  tubes  run  lengthways  through  the  drum — or,  to 
speak  more  correctly,  parallel  with  its  axis.  One  tube,  indeed, 
runs  right  through  the  middle  of  the  drum,  D,  and  the  jets  of 
water  from  it  fall  upon  the  faces  of  the  prints  as  they  come  round 
in  turn,  lying  inside  the  skeleton  drum.  The  other  tube,  C,  also 
pierced  along  its  length  with  water  holes,  is  at  the  top  of  the 
apparatus,  between  the  outer  cylinder  and  the  revolving  cylinder, 
so  that  the  prints  lying  upon  the  network  come  round  with  their 
backs  towards  the  falling  water.  Thus  the  prints,  as  they  re- 
volve, are  first  treated  to  a  shower  in  front,  and  then  at  the  back, 
and  one  can  readily  understand  that  pictures  subjected  to  a  con- 


MESSRS.  VALENTINE  AND  SONS. 


191 


iinual  spray,  and,  moreover,  to  centrifugal  action,  for  twenty- 
minutes,  are  likely  to  be  as  well  freed  from  any  hyposulphite  they 
may  contain,  as  immersion  in  running  water  for  many  hours. 

The  apparatus  may  be  turned  by  hand,  for  it  very  light ;  but 
Mr.  "Wane  objects  to  this,  for  the  reason  that  a  stoppage  at  any 
time  may  bring  about  a  fall  of  the  prints,  since  these  are  kept  in 
position  around  the  inside  of  the  cylinder  by  centrifugal  force. 
On  this  account  Mr.  Wane  has  recourse  to  a  water-motor,  E, 
which  is  nothing  more  than  a  water-mill  ;  the  water  main 
supplied  to  his  house  in  Edinboro'  is  quite  potent  enough  to  work 
the  motor,  which,  we  may  mention,  can  be  constructed  by  any 
water-engineer  who  knows  his  business.  It  may  be  mentioned 
that  a  washing  drum  working  vertically  does  not  seem  to  answer 
so  well  as  the  horizontal  arrangement. 

"We  have  no  time  to  speak  of  Mr.  Wane's  excellent  printing 
arrangements  (the  printing  is  all  done  under  ground  glass,  or 
under  tissue  paper),  nor  of  his  admirable  way  of  storing  negatives, 
each  with  its  number  plainly  marked  under  the  rack  ;  but  from 
an  elegant  little  card  of  terms,  we  quote  the  following  to  show 
that  good  prices  are  to  be  had  in  the  Scotch  capital  for  good 
work : — 

0  to  £1  1  0 
0  to  2  2  0 
...  2  10  0 
...  3  10  0 
...  5  5  0 
...  7  7  0. 
...  8    8  0 


Cartes,  per  dozen  ...  from  £0  15 
Cabinets,  per  doz  ...  from  1  5 
10  by   8  in  gold  frame  complete 

12  by  10   

15  by  12   . 

20  by  1 6  (direct  from  life)   

24  by  20  (    do.    do.  )   


MESSES.  JAMES  VALENTINE  &  SONS  AT  DUNDEE. 

The  largest  photographic  establishment  in  Scotland,  and  one  of 
the  largest  in  the  world — that  of  Messrs.  James  Valentine  and 
Sons — takes  very  high  rank  indeed.  Mr.  James  Valentine 
himself  died  two  years  ago,  just  as  he  had  completed  the  re- 
organization of  the  vast  undertaking  which  bears  his  name  ; 
but  his  sons  (Mr.  W.  D.  Valentine  and  Mr.  George  Valentine) 
have  shown  themselves  in  every  way  equal  to  the  task  of  carry- 
ing out  their  father's  designs.   As  many  as  forty  employes  are 


192 


STUDIOS  IN  SCOTLAND. 


to  be  found  in  the  establishment  of  Messrs.  Valentine,  and  it 
says  something  for  their  administrative  ability  that  this  number 
of  hands  is  engaged  all  the  year  round.  The  work  is  so  well 
regulated  that,  both  summer  and  winter,  there  is  plenty  to  do, 
in  one  department  or  the  other. 

Perhaps  the  best  idea  of  the  extent  of  work  done  is  to  be 
gathered  from  the  fact  that  3,000  prints  a  day  is  not  an  unusual 
number  to  produce,  while  upon  the  printing-tables  may  be 
found,  at  any  rate  in  dull  weather,  as  many  as  700  frames. 
The  principal  work  is  the  production  of  views  of  Scotland, 
Mr.  "W.  D.  Valentine  being  responsible  for  the  negatives,  which, 
as  our  readers  know,  include  the  most  delightful  scenes  that 
have  ever  been  taken  of  that  delightful  country.  Every  phase  of 
Scottish  scenery  is  here.  A  cluster  of  dark  granite  boulders, 
strewn  with  brown  seaweed,  and  beaten  by  angry  waves,  whose 
white  foam  is  tritely  characteristic  of  their  spent  wrath  ;  a  placid 
loch,  with  stately  craft  floating  calmly  on  its  surface  ;  a  solitary 
lighthouse  of  silver  grey,  rising  from  a  clump  of  black  rocks,  and 
surrounded  by  turbulent  waves  flecked  with  white — a  very 
painting ;  lichen-grown  crags,  sweet  forest  glades,  delicate  fern 
gardens,  bowery  foliage — in  a  word,  nature  in  every  shape  and 
mood  is  here  represented. 

The  Messrs,  Valentine  also  enjoy  high  reputation  as  por- 
traitists, and  it  is,  indeed,  into  the  portion  of  the  establishment 
devoted  to  portraiture  that  we  are  first  led.  A  hall  tastefully 
furnished  leads  to  the  reception  room,  whence  again  a  corridor 
takes  us  through  the  dressing-rooms  to  the  studio.  "We  may 
mention  here  that  it  is  in  the  reception-room  that  the  only  open 
fire  in  the  whole  establishment  is  found,  for,  following  the 
example  of  Mr.  Marshall  "Wane,  of  Edinburgh,  Messrs.  Valentine 
employ  hot-water  piping  throughout.  They  make  use  of 
Keath's  boiler  and  coil,  which  is  found  to  be  exceedingly 
economical,  for  upwards  of  forty  rooms  are  heated  by  its  means, 
at  an  expenditure  of  between  six  and  seven  shillings  a  week. 
Gas  cinders  only  are  required  for  consumption,  perhaps  the  most 
economical  fuel  one  can  use. 

The  studio  itself,  which  is  forty-six  feet  long,  was  most 
agreeably  warmed  (and  this,  too,  albeit  our  visit  was  in  Feb- 
ruary). Studios  are  apt  to  strike  chilly  in  our  experience,  and 
if  a  sitter  has  to  divest  him  or  herself  of  any  garments,  a  cold 
glass-room  is  not  only  unpleasant,  but  adds  to  the  difficulties  of 


MESSES.  VALENTINE  AND  SONS.  193 

the  photographer.  In  Dundee,  no  doubt,  cold  is  a  greater 
enemy  than  in  most  towns ;  but  still,  the  example  of  Messrs. 
Valentine  is  one  well  worth  following.  Moreover,  the  system  of 
heating  obviates  many  winter  difficulties.  "  The  snow  never 
lies  on  the  roof  here,"  says  Mr.  W.  D.  Valentine,  "  for  there  is 
always  warmth  sufficient  to  melt  it  as  it  falls." 

Curtains  are  almost  unknown  in  Messrs.  Valentine's  glass 
room.  Side  light,  and  light  from  the  roof,  is  tempered  by  means 
of  upright  zinc  shutters  on  hinges.  The  height  of  the  lower 
range  of  shutters  is  3  feet  6  inches,  and  of  the  upper  one  2  feet 
6  inches,  their  breadth  being  about  20  inches,  the  same  as  the 
sash.  They  are  painted  on  the  inside  (that  next  the  glass)  of  a 
pure  white,  and  when  opened  more  or  less,  reflect  light  upon  the 
model  at  the  end  of  the  studio.  Our  sketch  will  give  some  idea 
of  their  construction. 


Not  only  the  end  of  the  studio,  but  also  the  angle  farthest 
from  the  glass,  is  fitted  up  as  a  background.  The  angle,  indeed, 
forms  a  rustic  arbour,  tastefully  arranged  with  fragments  of 
cork  bark,  ivy,  &c,  so  that  with  but  little  trouble  it  is  con- 
stituted an  apt  and  unconventional  background  for  groups,  &c. 

o 


194 


STUDIOS  IN  SCOTLAND. 


A  change  from  the  ordinary  flat  background  is  at  times  very- 
welcome,  and  by  simply  turning  the  camera  this  is  here  secured. 

We  pass  through  the  retouching  room,  noting  on  our  way  two 
little  points.  The  one  is  a  plan  of  concentrating  light  upon 
negative  or  print ;  the  ordinary  plan,  which  has  already  been 
pointed  out,  is  to  have  a  spherical  decanter  of  water  near  at 
hand,  which  condenses  the  light  upon  any  spot  upon  which  you 
desire  to  work  ;  but  Messrs.  Valentine  employ,  instead  of  water, 
a  weak  solution  of  sulphate  of  copper,  the  greenish  hue  of  the 
latter  being  less  trying  to  the  eyes.  "It  is  what  jewellers 
always  use,"  explains  Mr.  Valentine.  The  other  point  is  that 
of  employing  a  developed  gelatine  plate  instead  of  pure  glass  to 
support  the  negative  during  retouching  ;  the  brown  tint  of  the 
former  is  also  preferred,  as  being  less  injurious  to  the  eyes. 

There  are  no  doors  to  the  dark  rooms.  Mr.  Valentine  holds 
them  to  be  not  only  unnecessary,  but  positively  harmful.  They 
give  rise  to  dust,  and  they  are  always  in  the  way.  They  are, 
too,  easily  done  without.  The  passage  leading  to  the  dark 
rooms  is  only  lighted  from  the  top,  the  panes  of  the  skylight 
being  reddened.  In  these  conditions  of  lighting  from  above,  all 
that  is  necessary  is  to  place  inside  the  entrance  of  the  dark  room 
a  broad  barrier,  or  partition,  round  which  you  must  walk  to  get 
into  the  room.  In  one  of  his  dark  rooms,  by-the-way,  Mr. 
Valentine  showed  us  a  huge  pane  of  ruby  glass,  which,  after  but 
two  years'  exposure  to  light,  had  lost  more  than  half  its  original 
colour.  Photographers,  therefore,  will  do  well  to  look  after 
their  windows  occasionally  ;  fortunately,  most  of  them  begin  by 
working  in  a  light  that  is  far  more  subdued  than  is  actually 
necessary. 

But  we  must  pass  on.  We  go  downstairs  to  the  printing 
department.  This  occupies  the  whole  of  the  basement,  the 
principal  portion  being  a  long  room,  in  which  there  are  no  less 
than  twelve  tables  ranged  side  by  side,  each  measuring  about 
9  by  2  feet.  It  is  the  biggest  printing  room  we  have  ever  seen. 
At  each  of  the  tables  stands  a  girl  with  printing  frames,  and  her 
duty  is  simply  to  open  each  frame,  withdraw  the  print,  provide 
a  fresh  piece  of  paper,  and  then  to  push  the  frame  through  an 
open  window  to  the  printer.  For,  opposite  each  table,  there  is  a 
window  of  this  kind,  opening  directly  into  the  yard,  so  that  all 
the  girl  need  do  is  to  carry  her  freshly-filled  frames  to  the 
side,  and  the  printer,  by  putting  his  hands  through,  reaches  them 


MESSRS.  VALENTINE  AND  SONS. 


195 


without  difficulty.  In  the  same  way,  the  frames  are  afterwards 
returned.  In  all  photographic  establishments,  the  difficulty  is 
with  new  hands ;  but  the  Messrs.  Valentine,  by  thus  subdividing 
the  work,  get  over  it  very  well ;  that  is  to  say,  those  inside  the 
printing  room  need  have  very  little  experience  compared  with 
those  occupied  with  the  actual  printing,  who  number  among 
them  the  most  skilled  employes  of  the  establishment. 

The  printing  is  done  in  the  open  air  or  under  shaded  glass, 
according  to  the  season  of  the  year.  Many  of  the  pictures 
require  skies  printing  in,  and  this  of  course  necessitates  double 
work.  Mr.  "W".  D.  Valentine  arranges  with  the  head  printer 
what  sky  negative  shall  be  employed  for  a  particular  picture, 
and  then  the  printing  frame  containing  this,  instead  of  being 
returned  to  one  of  the  ordinary  changing  tables,  is  taken  to  a 
separate  department,  where  the  sky  negative  is  adjusted,  and  a 
suitable  mask  fitted. 

The  sensitizing  of  the  paper  takes  place  in  a  compartment  at 
the  end  of  the  printing  room.  Three  baths  are  employed,  large 
enough  to  take  a  whole  sheet,  each  bath  provided  at  the  end 
with  a  glass  bar  or  rod,  over  which  the  sheet  is  dragged  after 
being  lifted  from  the  liquid.  There  is  no  draining  of  the  sheet ; 
the  glass  rod  has  removed  the  spare  liquid  from  the  surface,  and 
immediately  afterwards  the  paper  is  pressed  between  blotting- 
paper.  It  is  half  dry  by  this  time,  and  requires  to  be  hung  but 
a  very  short  time  to  be  completely  desiccated.  Nevertheless, 
Messrs.  Valentine  contemplate  drying  still  more  quickly  by 
means  of  hot- water  boxes,  over  which  the  paper  will  be  stretched 
on  net-work.  The  regulation  time  of  floating  the  paper  is  two 
minutes ;  the  strength  of  the  baths,  fifty-five  grains  of  silver 
nitrate  to  one  ounce  of  water. 

It  is  one  man's  duty  to  fold  the  sheets  of  sensitized  paper,  and 
to  cut  them,  a  knife  fixed  hinge-wise  to  a  board  serving  to  do 
this  very  rapidly.  "  By  this  means,  our  prints  have  always 
clean-cut  edges,  a  matter  of  much  importance  when  it  comes  to 
toning  and  washing,"  says  Mr.  Valentine. 

"We  have  not  time  to  speak  of  the  negative  rooms — all  negatives 
in  use  being  racked,  while  reserve  and  stock  plates  are  packed 
in  paper — but  must  pass  on  to  the  washing  room.  Here,  raised 
in  the  centre  of  the  long  apartment,  are  a  number  of  baths ; 
there  is,  in  fact,  a  double  row  of  seven,  so  that  two  sets  of 
assistants,  facing  each  other,  can  work  at  the  same  time.  The 


196 


STUDIOS  IN  SCOTLAND. 


prints  are  first  put  into  No.  1  bath,  rinsed,  and  then  placed  in 
No.  2,  whence  they  are  conveyed  to  No.  3,  and  so  on  till  they 
get  to  No.  7.  Above  the  baths  are  hanging  india-rubber  tubes, 
which  supply  both  warm  and  cold  water;  and  each  bath  is 
supplied  with  an  outlet  that  empties  it  rapidly.  The  water  from 
the  first  four  baths  runs  off  into  a  residue  tank  in  the  yard,  but 
the  other  washings  are  thrown  away.  Each  print  is  taken 
separately  in  hand,  and  handed  from  one  assistant  to  another. 
After  toning  and  fixing,  a  washing  even  more  thorough  ensues, 
for  after  rinsing  all  night  in  tanks,  in  which  each  print  is  nipped 
separately  between  laths  to  prevent  conglomeration,  the  prints 
are  put  one  by  one  on  a  glass  plate,  and  subjected  to  the  action 
of  falling  water,  both  warm  and  cold. 

Messrs.  Valentine  have  given  the  question  of  residues  careful 
study.  The  tanks  are  placed  in  the  open  yard,  in  the  full  glare 
of  daylight,  for  they  find  that  the  deposition  of  the  chloride  takes 
place  much  more  rapidly  out-of-doors,  than  in.  In  summer 
the  deposition  is  very  rapid,  while  in  winter  it  is  comparatively 
slow  ;  but  still  there  is  no  danger  of  losing  suspended  particles 
by  drawing  off  liquid  that  has  stood  twenty-four  hours  in  their 
tanks.  Moreover,  with  the  washing  arrangement  we  have  just 
described,  the  assistant  cannot  throw  away  valuable  washings, 
but  the  liquids  must  of  necessity  run  into  the  tanks.  The 
bottom  of  these  is  wedge-shaped,  so  that  when  emptied  of  liquid 
the  residue  cannot  be  carried  off. 


Section  of  Kesidue  Tank. 


The  old  hyposulphite  baths  used  for  fixing  prints  are  collected 
in  a  separate  tank.  The  most  economical  plan  is  to  treat  them 
with  so-called  liver  of  sulphur,  and  thus  extract  the  precious 


MESSRS.  VALENTINE  AND  SONS. 


197 


metal  in  the  form  of  sulphide.  But,  practically,  Messrs.  Valen- 
tine find  it  best  to  throw  down  the  silver  in  the  metallic  form  by 
means  of  zinc.  Fragments  of  old  zinc  will  do — sheeting,  water- 
spouts, &c. — and  from  .these  the  black  deposit  is  brushed  from 
time  to  time,  and  collected.  "  The  silver  collected  from  our 
hyposulphite  washings  fetched  thirty  pounds  last  year,"  said 
Mr.  Valentine,  in  reply  to  our  question  as  to  whether  it  paid. 

We  are  next  led  into  the  mounting  room.  The  mountant 
employed  is  gelatine  soaked  in  water,  and  then  dissolved  in  hot 
spirit.  But  they  are  very  particular  about  the  brushes  employed, 
since  most  of  these  leave  "  brush-markings."  A  brush  two 
inches  broad,  of  red  sable,  is  the  only  instrument  permitted  in 
the  establishment,  and  the  price  of  these,  we  were  told,  was  no 
less  than  fourteen  shillings.  The  tables  here  are  all  covered 
with  linoleum,  not  only  to  protect  them  from  wet,  but  also  because 
the  soft  character  of  this  material  is  not  likely  to  injure  any 
albums  or  finely-bound  books  that  come  into  the  place. 

Mr.  "W.  D.  Valentine  has  devised  a  very  simple  and  effective 
shutter  constructed  of  thin  sheet  metal.  The  actual  drop  piece 
is  represented  by  figure  1 ;  and  by  making  the  opening  A  of  the 
J  shape  indicated  by  the  drawing,  somewhat  less 

exposure  is  given  to  the  central  portion  of  the 
plate  than  would  be  the  case  if  a  plain  rectangular 
opening  were  adopted.  This  drop  piece  slides  in 
a  flat  tube  built  up  out  of  similar  sheet  metal, 
a  pair  of  circular  holes  corresponding  to  the  maxi- 
mum working  aperture  of  the  lens  being  cut  in 
this  flat  tube,  and  the  whole  arrangement  fits  into 
a  slot  which  must  be  cut  through  the  lens  tube 
just  in  front  of  the  diaphragm  guide ;  a  pair  of 
arc-like  pieces  of  brass,  which  are  soldered  on  to 
the  apparatus,  serving  the  double  purpose  of  keep- 
ing out  light,  and  of  ensuring  that  the  apparatus 
shall  always  be  so  placed  that  the  circular  apertures 
/\  correspond  with  the  central  portions  of  the  lens 
/     \  |  mount. 

The  arrangement  for  releasing  the  drop  is  neat, 
and  well  worthy  of  note.  Figure  2  represents  it  in 
section.  The  three  interior  lines  represent  a 
sectional  view  of  the  flat  tube  and  the  drop,  while  the 
outer  shaded  portion  stands  for  a  light  metal  frame 


\0 


Fig,  1. 


198 


STUDIOS  IN  SCOTLAND. 


which  can  slide  across  the  apparatus,  but  which  is  held 
towards  the  side  A  by  the  spiral  spring.  "Under  these  circum- 
stances the  internal  stud  shown  near  B  presses  on  the  drop,  and 
may  suppoTt  it  either  at  the  point  C,  figure  1  (half-cock),  or  at 
D,  figure  1  (full-cock).  Pressure  on  the  end  A  of  the  sliding 
framework  serves  to  release  the  drop. 


Fig.  2. 

To  use  the  shutter,  a  slot  has  to  be  cut  through  the  tube  of 
the  lens  close  to  the  diaphragm ;  then  the  shutter  is  inserted  in 
the  opening,  the  small  flange  keeping  it  in  place,  and  preventing 
light  getting  in.  To  focus,  press  the  spring  slightly,  at  same 
time  drawing  up  the  drop  till  it  catches  and  leaves  shutter  open. 
To  expose,  draw  up  the  drop  to  its  last  catch.  A  very  slight 
pressure  on  spring  A  releases  shutter,  which  falls  and  shuts 
itself;  a  small  piece  of  lead  on  B  prevents  any  jar  when  the 
drop  falls.  It  is  well  to  carry  several  drops  with  different  sizes 
of  openings,  using  them  according  to  light,  subject,  &c. 

It  will  be  well  for  our  readers  to  bear  in  mind  that  it  is 
generally  undesirable  to  cut  the  lens  tube  for  such  a  shutter  as 
that  of  Mr.  Valentine,  it  being  a  much  preferable  course  to  send 
the  lens  to  the  maker  and  get  him  to  make  a  special  tube  with 
the  required  slot  in  it.  On  one  occasion  we  required  such  an 
extra  tube  for  a  lens  by  one  of  the  leading  opticians,  and  the 
extra  tube  was  in  our  hands  four  hours  after  we  had  taken  the 
lens  back  to  the  maker. 


MESSES.  T.  &  E.  ANNAN  AT  GLASGOW. 

Messrs.  Annan  9  of  Sauchiehall  Street,  Glasgow,  deserve  honour- 
able mention,  if  only  for  this :  they  are  the  one  firm  of  photo- 
graphers north  of  the  Tweed  which  manufactures  and  uses  its  own 
carbon  tissue.  Many  of  us  know  the  difficulties  and  vexations  of 
carbon  printing ;  but  few  have  had  the  courage  to  make  tissue  for 
themselves,  and  fewer  still  continue  to  do  so  in  spite  of  heart- 


MESSRS.  T.  AND  E.  ANNAN. 


199 


breaking  failure  and  systematic  discouragement.  Messrs. 
Annan  Brothers  have  for  years  steadily  clung  to  the  production 
of  carbon  tissue,  and,  at  their  works  at  Lenzie,  near  Glasgow, 
have  succeeded  in  producing  a  material  of  excellent  quality,  as 
abundantly  proved  by  the  transparencies  and  enlargements  which 
issue  from  the  firm. 

At  Lenzie,  too,  Messrs.  Annan  have  a  manufactory  of  gelatine 
plates ;  but,  in  the  present  paper,  we  shall  confine  ourselves 
simply  to  a  description  of  the  Glasgow  establishment,  which 
furnishes  us  with  matter  quite  sufficient  for  our  purpose.  Here, 
in  the  Gallery  at  Sauchiehall  Street,  we  perceive  at  once  one 
very  important  fact,  namely,  that  permanence  in  photographic 
prints  is  one  of  the  principal  aims  of  Messrs.  Annan.  Look  at 
this  carbon  print  upon  opal,  representing  Sir  Noel  Paton's 
u  Fairy  Baid."  It  is  a  photograph  finished  in  black  and  white, 
we  are  glad  to  hear,  by  the  artist  himself,  a  circumstance  alone 
that  deserves  record,  since  it  shows  that  photography  is  no  longer 
looked  upon  with  such  jealous  eyes  by  painters.  This  carbon 
print  upon  opal  measures  no  less  than  four  feet,  certainly  the 
largest  and  finest  we  have  seen  of  the  kind,  while  we  need 
scarcely  speak  of  its  excellence  and  beauty,  since  it  has  been  so 
highly  appreciated  by  Sir  Noel  Paton.  Messrs.  Annan  have 
published  many  works  of  art  of  this  kind,  and,  as  photographic 
publishers,  indeed,  they  take  very  high  rank.  Here  is  a  series 
of  portraits  of  the  professors  of  Glasgow  University,  both  taken 
and  printed  in  carbon  by  Messrs.  Annan,  than  which  no  finer 
collection  of  its  kind  has  appeared.  The  portrait  of  Sir  William 
Thompson,  the  electrician,  is  one  of  the  best  of  them  (they  are 
taken  8  J  by  6 J  inches),  and  it  is  something  to  reflect  that  such 
good  portraits  are  printed  in  permanent  pigments.  Here  is  a 
volume  containing  the  divinity  professors,  and  yet  another  filled 
with  those  of  the  medical  staff,  all  of  them  names  famous  in  the 
University  world.  In  fact,  Messrs.  Annan  might  well  be  termed 
photographic  publishers  to  the  University,  for  we  find  still 
another  volume  filled  with  views  of  the  Old  College,  which  dates 
back  to  1450 — photographs  that  must  be  dear  to  all  those  in- 
habiting the  second  city  of  the  empire,  as  we  believe  Glasgow  is 
now  entitled  to  rank. 

Another  excellent  series  of  pictures  we  must  allude  to  before 
we  pass  from  this  subject.  They  depict  the  whole  of  the  painted 
windows  in  Glasgow  Cathedral,  and  form  a  valuable  record  of 


200 


STUDIOS  IN  SCOTLAND. 


this  branch  of  the  art.  There  is  almost  colour  in  some  of  these 
casements,  so  delicate  are  the  half-tones  ;  while  the  "  staining  " 
effect  upon  the  glass  could  scarcely  be  better  in  the  original 
windows.  There  is  not,  strange  to  say,  a  single  instance  of  hala- 
tion or  blurring  in  these  window  pictures,  which  represent 
masterpieces  of  the  modern  German  school.  They  are  the  work 
of  Hess,  Schrandolph,  and  Moritz  von  Schwind,  the  last-named 
artist  distinguished  more  especially  by  his  being  chosen  to 
renovate  the  Castle  of  the  "Wartburg  in  Germany,  revered  by  the 
whole  Lutheran  Church  on  account  of  Luther  having  translated 
a  large  portion  of  the  Bible  within  the  venerable  pile.  The  art 
of  modern  window  painting —  so  far,  at  any  rate,  as  designs  go — 
may  well  be  studied  from  this  fine  series  of  photographs,  which 
puts  vividly  before  the  student,  sitting  at  home  at  ease,  transcripts 
of  the  master's  work.  Indeed,  in  glancing  over  these  valuable 
publications  of  Messrs.  Annan,  the  idea  comes  over  us  now 
and  again,  whether  such  work  is  sufficiently  recognized.  At 
Messrs.  Braun's  establishment  in  Dornach,  which  we  visited  a 
dozen  years  ago,  a  great  deal  of  work  of  a  similarly  classic 
character  is  also  prepared,  and  we  could  not  help  calling  to 
mind  the  Alsace  studio  as  we  examined  Messrs  Annan's  photo- 
graphs. Fortunately,  as  in  the  Dornach  establishment,  these 
reproductions  are  all  in  carbon,  and  hence  we  may  trust  that  the 
work  undertaken  at  such  great  expense  may,  by  reason  both  of 
its  intrinsic  value  and  permanence,  be  ultimately  a  source  of 
profit  to  its  progenitors. 

As  landscape  photographers  Messrs.  Annan  enjoy  an  enviable 
reputation.  In  London,  we  have  repeatedly  been  made  familiar 
with  good  work  from  the  Glasgow  studio ;  but,  to  thoroughly 
appreciate  its  skill  and  taste,  it  is  necessary  to  examine  the 
beautiful  pictures  of  exteriors  and  interiors  of  Scotch  strong- 
holds which  here  adorn  the  walls.  Here  is  princely  Glamis 
Castle,  with  its  rounded  turrets  and  spires,  its  grey  walls,  its 
weather-beaten  casements,  and  handsomely  wrought  stone  work. 
Here  is  Alnwick  Castle,  its  fine  lines  sharp  and  clear  in  the 
leafy  landscape ;  here  Dumbarton  Castle  on  the  Clyde,  and 
here  again  Hamilton  Palace.  But  better  than  all  are  these 
interiors  taken  on  16  by  13  plates,  some  by  a  Dallmeyer  12  by  10 
rectilinear,  and  others  by  a  Boss  wide-angle  lens.  The 
"  Duchess'  Bedroom/ '  for  example,  is  perfect;  the  satin  bed 
furniture,  the  quilted  coverlid,  the  folds  in  the  rich  drapery,  are 


MESSRS.  T.  AND  R.  ANNAN. 


201 


rendered  as  softly  as  by  the  painter's  art,  while  yet  they  possess 
all  the  detail  and  clearness  of  photography.  "  The  Library," 
Hamilton  Palace,  is  not  less  successful ;  the  furniture,  the  book 
cases,  the  table-cloth — all  are  rendered  with  surpassing  harmony 
and  clearness,  as  if,  forsooth,  the  photographer  had  chosen 
accessories  of  his  own  shade  and  hue,  in  order  to  secure  the 
highest  effect.  There  is  no  blurring,  no  halation,  no  solariza- 
tion ;  the  light  is  diffused  as  evenly  and  effectively  as  in  a  well- 
lit  studio.  All  these  interiors  were  taken  with  wet  collodion, 
some  of  them  with  nearly  an  hour's  exposure.  Says  Mr.  Thomas 
Annan  :  "I  use  gelatine  plates  of  our  own  making  for  interiors 
now,  but  we  have  not  given  up  the  use  of  collodion  for  outside 
work." 

"We  go  upstairs.  Here  are  carbon  prints  and  carbon 
transparencies  in  various  stages.  Impressions  measuring 
24  by  18  inches  are  considered  but  ordinary  work,  and  three-feet 
pictures  are  not  made  much  fuss  about.  The  enlarging  is  done 
an  the  usual  way  from  a  carbon  transparency,  produced  by 
printing  upon  tissue  under  the  original  negative,  and  in  this 
way  securing  a  vigorous,  transparent  positive.  Some  of  the 
red-tissue  prints  of  Messrs.  Annan  are  very  successful.  A  hunts- 
man surrounded  by  his  pack  on  the  steps  of  a  hunting-box 
looks  like  an  old  engraving  by  Hogarth,  and  so  anti-photographic 
is  it  in  appearance,  that  one  wants  the  assurance  of  the  printer 
almost  to  believe  it. 

The  studio  is  spacious  and  roomy.  It  is  lighted  from  the 
north  :  but  the  sun  itself  never  gets  into  it  the  whole  livelong 
day.  What  there  is  of  wall  on  the  light  side  of  the  studio  is 
painted  dark,  while  the  bare  glass  is,  for  the  most  part,  obscured 
by  curtains  of  very  dark  blue.  On  the  shadow  side  of  the 
studio  the  walls  are  of  a  light  tint.  One  feature  deserves  special 
mention.  The  slope  of  the  roof  is  but  slight,  and  on  both  sides 
it  is  glazed  ;  but,  on  the  shadow  side,  the  glass  is  covered  in  by 
seven  or  eight  boards,  their  ends  towards  the  apex  of  the  roof. 
Under  ordinary  circumstances,  therefore,  they  permit  no  top 
side-light  to  enter  from  the  shadow  side.  At  times — in  winter 
more  especially — light  is,  however,  desirable  from  this  particular 
direction.  Tor  this  reason  the  planks  are  hinged  lengthways, 
and  capable,  therefore,  of  falling  or  assuming  any  slope — and, 
therefore,  casting  more  or  less  light — towards  the  object  to  be 
photographed.    Two  cords — one  near  each  end  of  the  plank  or 


202 


STUDIOS  IN  FRANCE. 


board — permit  of  moving  the  plank,  and  either  allowing  it  to 
fall  altogether,  so  that  it  hangs  edgeways,  or  of  pulling  up  the 
flap  flat  with  the  roof,  in  which  circumstance  no  light  at  all 
enters. 

The  dark-room  is  one  of  the  best  ventilated  we  have  seen. 
There  are  two  ventilating  shafts,  one  on  each  side  of  the  apart- 
ment, with  pipes  no  less  than  eighteen  inches  in  diameter. 
The  shafts  are  not  only  bent  at  an  angle,  like  a  magic-lantern 
chimney,  to  keep  out  rays  of  light,  but  there  is,  moreover, 
placed  at  a  short  distance  below  the  orifice  of  each,  a  dead-black 
disc,  to  make  security  more  secure. 


STUDIOS    IN  FRANCE. 


M.  ADAM-SALOMON  IN  THE  KUE  DE  LA  FAISANDEKIE, 

PARIS. 

M.  Adam- Salomon  died  the  week  after  Easter  in  last  year,  and 
it  was  on  Easter  Sunday  and  Easter  Monday  that  we  last  had  the 
pleasure  of  meeting  him.  Although  suffering  from  impaired 
eyesight,  he  was  then  in  good  health  and  spirits,  and  talked  hope- 
fully  of  an  operation  for  cataract  which  was  to  bring  back  to  him 
his  strong  vision  once  more.  On  Sunday,  a  hot  summer's  day, 
he  was  in  company  with  an  old  colleague,  a  doctor  of  medicine, 
and  brother  Chevalier  of  the  Legion  of  Honour,  and  during  a 
stroll  together  in  the  sunny  garden  among  the  odorous  wall- 
flowers and  fresh  green  chestnuts,  there  was  a  running  fire  of 
gaiety  and  jokes.  They  called  blithely  to  one  another  among  the 
trees,  and  rallied  each  other  like  schoolboys.  "  Where  are  you, 
docteur  ?  "  cried  M.  Salomon,  lustily,  for  the  doctor  had  seated 
himself  in  an  arbour,  out  of  pretence  to  avoid  the  artist's  raillery. 
"  Where  you  can't  find  me,"  was  the  other  grey-beard's  reply. 
With  all  the  freshness  of  a  lad  of  twelve,  M.  Salomon  quizzed 
his  friend  about  his  cleverness,  whereupon  "docteur"  replied 
that  his  hair  had  not  grown  white  for  nothing.  "Cheveux 
blancs,"  cried  M.  Salomon,  explaining  to  us  what  an  impostor 
his  friend  was  ;  "  il  est  un  brun,  avec  la  tete  poivree." 


M.  ADAM-SALOMON. 


20a 


We  like  to  recal  the  scene  now  the  kindly  heart  beats  no  more, 
not  only  because  it  is  one  of  the  last  and  brightest  reminiscences 
of  a  gifted  artist,  but  because  it  shows  how  lightly  his  years  sat 
upon  the  shoulders  of  Adam-Salomon.  Everybody  knows  that 
he  held  high  rank  as  a  sculptor  ;  but,  skilled  as  he  was  in  the 
use  of  the  chisel,  it  was  as  a  photographer  that  his  fame  travelled 
to  the  four  corners  of  the  earth.  Strange  to  say,  he  did  not 
begin  photography  till  1861 — it  was  one  of  the  last  things,  he 
said  to  us — and  yet,  in  1867,  at  the  Paris  Exhibition,  we  find 
him  so  far  ahead  of  all  other  portraitists,  that  his  position  was 
undisputed  by  his  own  countrymen,  and  spontaneously  acknow- 
ledged in  every  land. 

But  to  return  to  our  visit.  M.  Adam-Salomon  comes  down 
the  gravel  walk  to  unlock  the  gate  for  us.  His  beard  is  whiter 
and  more  flowing  than  it  used  to  be  a  dozen  years  ago,  when  we 
first  met  the  'premier  portraitist,  but  he  is  as  genial,  as  warm,  as 
winsome  as  ever.  In  his  button-hole  he  jauntily  wears  the  red 
ribbon  of  the  Legion,  and  his  manner  has  all  the  old  gaiety  about 
it.  He  calls  out  a  blithe  welcome  as  he  rattles  the  key  in  the 
gate,  and  shakes  hands  again  and  again. 

In  his  kindly  hospitable  fashion  he  has  insisted  on  our  taking 
dejeuner  with  him  ;  but  come  early,  he  has  said,  for  "  h  midi  je 
vous  chasse."  So  between  ten  and  eleven,  this  sunny  April 
morning,  we  present  ourselves  at  the  little  villa,  so  close  to  the 
green  confines  of  Paris  and  the  fortifications  as  to  have  been 
unsafe  to  inhabit  during  the  investment  of  the  capital  by  the 
Germans  in  1870.  The  balmy  air  is  redolent  with  the  odour  of 
wallflowers,  and  it  is  so  warm  that  the  house  door  stands  wide 
open.  As  everybody  knows,  M.  Saloman  is  a  sculptor  before  he 
is  a  photographer,  and  evidence  of  his  handiwork  is  here  in  the 
little  garden,  and  in  the  handsome  gallery  we  now  enter. 

A  pleasant  chat  about  friends  and  acquaintances  who  have 
visited  him  in  Paris,  or  M.  Saloman  has  met  in  London,  revives 
recollections  of  that  famous  display  of  portraits  in  1867,  when  he 
took  the  photographic  world  by  storm.  The  long  article  by  the 
Times  special  correspondent  at  the  Paris  Exhibition,  in  which  a 
high  tribute  was  paid  to  M.  Salomon's  pictures,  our  host  still 
remembers  with  unaffected  delight,  as  also  the  many  other  re- 
cognitions of  his  work  that  have  come  from  Great  Britain.  His 
skill  as  a  sculptor  has  been  no  less  complete,  and  M.  Salomon 
speaks  with  deep  feeling  of  the  homage  paid  to  his  work  by  the 


204 


STUDIOS  IN  FRANCE. 


English  press,  particularly  in  respect  to  the  bust  of  Mr.  Chad- 
wick,  C.B.,  exhibited  two  years  ago  at  the  Eoyal  Academy.  Un- 
fortunately— and  our  readers  will  read  it  with  infinite  regret — 
M.  Salomon's  eyesight  for  some  time  past  has  been  very  defective, 
and  has  compelled  him  to  put  aside  almost  entirely  his  photo- 
graphic work.  "  Here  is  my  last  essay  at  posing,"  said  our 
host,  showing  an  unmounted  print;  "  I  did  it  the  other  day, 
but  I  was  able  to  do  no  more  than  pose."  It  is  a  standing  por- 
trait of  a  violinist  at  the  moment  of  attaqrue.  The  chin  presses 
the  instrument,  the  arm  is  raised,  the  bow  just  touches  the 
strings — the  musician  will  instantly  commence. 

"  It  is  a  gelatine  plate,  of  course,  with  a  pose  of  three  seconds," 
says  our  host :  "  I  could  not  have  secured  that  with  collodion." 

An  exposure  of  twenty  seconds  he  used  to  consider  a 
short  one  in  taking  the  brilliant  10  by  8  pictures  for  which 
he  was  so  famous — pictures,  as  our  readers  know,  not  less 
delicate  than  they  were  brilliant.  A  portrait  of  Mr.  Blan- 
chard,  which  he  took  in  Mr.  Elan  chard's  own  studio  in  London, 
is  here,  and  M.  Salomon  shows  it  us  with  pardonable  pride,  for 
it  proves  how  well  he  can  succeed  far  away  from  his  own  studio 
and  familiar  surroundings. 

On  either  side  of  the  spacious  gallery — furnished  with  rich 
Turkey  carpet  and  handsome  Louis  XIY.  furniture,  its  walls 
being  deep  chocolate — are  examples  of  his  skill  as  a  sculptor. 
A  bust  of  the  late  Pope  Pius  IX.  is  here,  to  model  which,  a 
journey  to  Eome  was  necessary.  This  is  Guizot,  full  of  force 
and  vigour ;  and  this  Cousin,  another  noted  French  minister,  a 
magnificent  work  in  white  marble.  Earl  and  Lady  Granville 
.  are  to  sit  to  our  host  as  soon  as  his  eyes  are  better,  he  tells  us  ; 
at  present  he  is  engaged  in  modelling  a  bust  of  Thiers,  which  we 
are  forthwith  invited  to  see  in  the  atelier.  "We  pass  into  the 
garden,  and  thence  into  a  large  room  where  finished  and  un- 
finished work  is  on  every  hand.  M.  Salomon  throws  off  a  cloth, 
and  before  us,  in  dark  plastic  clay,  are  the  familiar  features  of 
the  late  liberator  of  his  country  ;  the  lips  seem  to  speak,  so  full 
are  they  of  life  and  vitality,  and  one  can  almost  perceive  a  smile 
playing  over  the  face  of  the  benevolent  statesman.  It  is  a  mar- 
vellous work.  These  grand  models  seem  to  point  to  the  reason 
of  our  host's  success  in  photography,  for  his  portraits  are 
essentially  statuesque.  Eelief  and  plasticity  is  a  marked, 
if  not  the  principal   feature  in  them,  and  when  we  are 


M.  ADAM-SALOMON. 


205 


further  invited  up  into  the  photographic  studio,  we  see  un- 
mistakable signs  of  M.  Salomon's  great  endeavour  to  give 
a  statuesque  character  to  his  work.  Eepeated  accounts  have 
in  past  years  appeared  of  M.  Adam-Salomon's  method  of  work- 
ing, but,  for  all  that,  our  readers  will  forgive  any  repetition, 
we  are  sure. 

The  studio  is  on  the  first  floor  of  a  detached  building  in  the 
garden,  so  that  light  from  every  side  is  available.  "  A  droite,  a 
droite,  je  vous  prie  !  "  cries  M.  Salomon,  as  we  mount  the  wooden 
steps,  for  they  are  a  little  unsafe  in  places.  The  studio  is  very 
spacious,  and  very  few  curtains  are  made  use  of ;  so  roomy  is  it, 
indeed,  that  you  might  point  the  camera  in  any  direction.  The 
principal  light  is  top-light,  and  here  is  the  alcove  or  semi-circular 
background  which  M.  Salomon  has  repeatedly  used  with  such 
effect.    It  is  some  twelve  feet  across,  and,  inside,  of  a  chocolate 


colour.  The  way  to  use  it  is  very  simple,  and  it  has  the  advan- 
tage of  producing  almost  every  effect  of  lighting.  If  need  be, 
the  model  need  not  move  at  all.  He  stands  or  sits  in  the 
centre,  and  the  semi-circular  background  is  revolved,  if  we  may 
so  call  it— shifted  round  a  little  to  one  side  or  the  other— as  the 


206 


STUDIOS  IN  FRANCE. 


photographer  deems  necessary.  Thus  the  lighted  side  of  the 
model  may  be  contrasted  with  the  shadow  side  of  the  background, 
and  vice  versa.  Again,  the  background  may  be  bodily  advanced 
or  receded  from  the  light — the  model  remaining  stationary — 
when  another  modification  of  the  illumination  is  broght  about. 
Many  photographers  have  a  bust  or  statue  in  the  studio  as  a 
corpus  vile  whereon  to  make  experiments  in  lighting,  &c.  M. 
Adam-Salomon,  although  himself  a  sculptor,  with  an  array  of 
these  at  his  disposal,  does  not  avail  himself  of  such  aid ;  he  em- 
ploys something  more  to  the  purpose.  "Madame  Tussaud's," 
he  says,  jokingly,  as  he  pulls  aside  the  curtain  from  an  alcove. 
We  see  two  life-sized  figures  dressed  in  black  coats  and  trousers, 
and,  to  all  appearance,  habitues  of  the  famous  Baker  Street 
establishment.  These  models  M.  Salomon  employs  for  his  essays 
in  lighting  and  since  he  has  here  the  contrast  of  black  drapery 
and  white  features,  which  is  the  plague  of  the  photographer,  he 
knows  pretty  well  that  if  he  can  succeed  with  these,  ho  can  suc- 
ceed with  live  models. 

M.  Salomon  is  an  indefatigable  experimentalist ;  for  some  time 
he  employed  a  red- glass  camera  in  his  work — this  is,  a  camera 
with  windows  of  red  glass  on  top  and  sides — and  he  has  still  a 
good  word  to  say  for  it.  It  was  quicker  in  action  than  the 
ordinary  camera,  and  in  some  circumstances,  the  slight  greyness 
in  the  prints  from  negatives  taken  therein  was  not  disadvan- 
tageous; but,  of  course,  with  gelatine  plates  any  accelerating 
means  of  this  kind  are  quite  unnecessary. 

All  who  have  seen  M.  Salomon's  pictures  know  that  these 
were  never  issued  unmounted.  In  the  same  way  as  no  effort  was 
spared  to  secure  in  the  highest  degree  results  of  modelling  and 
harmony,  so  M.  Salomon  never  neglected  the  smallest  detail  in 
finishing  and  mounting  his  pictures,  with  the  view  of  securing 
the  very  best  ensemble.  His  portraits  were  not  only  mounted 
upon  glass,  but  rubbed  with  a  wax  or  paste,  the  composition  of 
which  has  already  appeared  in  these  columns,  and  which  we 
repeat  at  the  end  of  this  article..  No  better  "finish"  has  since 
been  suggested,  and  Salomon's  encaustic  paste  still  finds  a  ready 
sale  on  the  Continent  and  in  this  country.  M.  Salomon  told  us  he 
had  himself  purchased  it  at  various  times,  and  laughingly  alluded 
to  the  grave  protestations  of  a  shopman  to  whom,  on  one  occa- 
sion, he  had  expressed  doubts  as  to  the  efficacy  of  the  compound. 

"  When  in  London  I  purchased,  too,  some  pictures  of  myself," 


THE  MAISON  LEJEUNE. 


207 


said  M.  Salomon,  recounting  another  anecdote.  It  was  "  dans 
la  cite"  and  naturally  he  desired,  before  making  the  purchase, 
to  know  whether  the  portrait  was  ressemblant.  "  Tres  ressem- 
blant,"  was  the  shop-keeper's  assurance  ;  "and  on  the  strength 
of  his  word,"  continued  M.  Salomon,  "  I  purchased  half-a-dozen 
of  the  pictures.  But  from  that  day  to  this  I  could  never  trace 
the  resemblance  myself." 

Here  is  the  composition  of  the  Salomon  paste,  and  manner  of 
employing  it : — 

Pure  virgin  wax                            ...  500  parts 

Gum  elemi     ...       ...       ...       ...  10 

Benzole                                       ...  200  „ 

Essence  of  lavender   300  ,, 

Oil  of  spike   15  5, 

Melt  the  whole  on  a  water-bath,  mixing  thoroughly,  and  strain 
through  muslin.  Or  the  elemi  may  be  dissolved  in  the  solvents, 
and  the  melted  wax  added  after  filtration.  To  make  it  thinner, 
add  a  little  more  lavender  essence. 

The  encaustic  paste  is  put  on  the  print  in  patches  in  three  or 
four  parts,  and  then  rubbed  with  a  light,  quick  motion,  with  a 
piece  of  clean  flannel.  If  a  thick,  rich  coating  be  desired,  a  very 
light  pressure  in  rubbing  is  used.  In  the  case  of  a  retouched 
print,  the  rubbing  should  be  very  light. 


THE  MAISON  LEJEUNE  IN  THE  EUE  ST.  H0N0EE. 

IVe  have  always  had  a  sneaking  fondness  for  the  Eue  St  Honore. 
Despite  the  grandeur  of  the  adjacent  Kue  de  Eivoli,  and  of  the 
broad  Avenue  de  1'  Opera,  with  its  massive  shops  and  electric 
lamps,  the  Eue  St.  Honore  is  quite  competent  to  hold  its  own. 
From  its  less  aristocratic  end,  where  old-fashioned  shops  of  the 
true  Parisian  type  are  still  to  be  found — where  salads,  cheese, 
apricots,  sausages,  and  other  comestibles,  are  seen  in  queer  little 
windows,  where  restaurants  flourish  for  the  bourgeoisie,  with  the 
steaming  kitchen  on  the  threshold,  so  that  customers  may  make 
up  their  minds  as  to  the  quality  of  the  viands  before  entering — 
we  repeat,  from  this  unaristocratic  quarter  right  away  to  the 
Faubourg,  where  the  Elysee  and  the  British  Embassy  are 


208 


STUDIOS  IN  FRANCE. 


loeated,  this  favourite  street  of  ours  is  full  of  interest.  "We 
are  not  particularly  aged,  but  still  old  enough  to  remember 
the  days  when  diligence  travelling  was  resorted  to  on  many  of 
the  French  highways,  and  we  have  seen  the  heavy  yellow 
vehicles  swing  out  from  under  that  archway  in  the  Rue  St. 
Honore,  which  before  the  days  of  railways  was  the  main  point 
of  arrival  and  departure  with  Paris  visitors.  The  word 
"  Messageries  "  still  appears  above  that  archway,  and  beside  it, 
in  newer  letters,  the  word  "Rationales"  ;  it  was  "  Messageries 
Imperiales,"  we  remember,  when  we  first  saw  it,  a  quarter  of 
a  century  ago. 

Very  nearly  opposite  that  hostelry,  dear  to  English  visitors, 
the  Motel  de  Lille  et  V Albion,  is  a  lofty  building  of  white  stone, 
wherein  is  situated  the  atelier  Lejeune.  The  present  head  of  the 
firm  is  Monsieur  L.  Joliot,  and  to  him,  both  on  behalf  of  our 
readers  alid  ourselves,  we  tender  thanks  for  a  hearty  welcome, 
and  permission  to  visit  one  of  the  very  first  studios  in  the  French 
capital.  That  he  had  nothing  of  novelty  to  exhibit,  was  an 
assurance  he  gave  us  over  and  over  again ;  but,  that  we  might 
judge  for  ourselves  on  the  subject,  we  were  at  liberty  to  go  where 
we  pleased. 

M.  Joliot' s  establishment  is  on  the  second  floor.  Two  hand- 
some salons,  furnished  with  excellent  taste,  are  at  hand  for  the 
reception  of  visitors,  and  from  one  of  these,  half  a  dozen  carpeted 
stairs  lead  to  the  studio.  M.  Joliot  has  a  speciality  in  the  shape 
of  the  Cartes  Busses,  which  attracted  considerable  attention  at 
the  last  International  Exhibition.  They  are  bust  vignettes  on  a 
black  ground.  The  style  is  especially  suitable  for  ladies,  and  is 
pleasing  to  a  degree.  It  was,  indeed,  these  Cartes  Russes  that 
decided  us  upon  an  early  visit  to  the  Maison  Lejeune,  for,  strange 
to  say,  although  the  cards  are  well  known  in  Paris  and  St.  Peters- 
burgh,  at  home  they  are  comparatively  unknown.  The 
Promenade  or  Panel  portrait  is  also  in  favour  with  M.  Joliot' s 
customers,  and  we  may  here  mention  that,  as  with  us  in  England, 
the  Parisians  have  not  yet  made  up  their  minds  in  respect  to  a 
general  name  for  the  format ;  "  Portrait  de  Paris  "  is  one  of  the 
titles  by  which  it  is  known. 

M.  Joliot  believes  that  there  is  fashion  in  photography  as  in 
everything  else.  The  public  are  capricious,  and  they  would  just 
as  likely  take  up  with  a  style  because  it  is  fashionable,  as 
because  it  is  artistic  and  elegant.   From  the  circumstance  that 


THE  MAISON  LEJEUNE. 


209 


the  present  costume  worn  by  ladies  is  well  rendered  in  tlie  panel 
portrait,  this  cannot  fail  to  become  a  favourite  style,  if  for  no 
other  reason.  Unfortunately,  said  M.  Joliot,  the  recent  seasons 
have  brought  satin  very  much  into  fashion  for  ladies'  dresses,  and 
of  all  materials  that  plague  the  unfortunate  photographer,  this 
shining  fabric  is  the  worst.  M.  Joliot  takes  the  liberty  of 
advising  his  sitters  as  to  the  nature  of  their  costumes ;  in  his 
circular  he  says,  (i  Costumes  of  white,  blue,  violet,  mauve,  rose, 
and  light  grey,  should  be  avoided,  except  in  the  case  of  Cartes 
Susses,  when  these  tints  are  especially  to  be  chosen,  since  they 
are  the  only  ones  giving  goods  results.  Moire  antique,  black 
velvet  and  satin  generally  produce  unsatisfactory  effects  ;  black, 
dark  grey,  green,  yellow,  chestnut,  and  brown,  are  good  photo- 
graphic colours.' ' 

M.  Joliot  admitted,  however,  when  we  referred  to  the  subject 
of  drapery,  that  the  ideas  of  photographers  had  of  late  years  under- 
gone a  vast  change,  and  that  many  colours  that  were  formerly 
regarded  by  the  photographer  with  dislike,  are  now  chosen  in 
order  to  secure  effect.  To  produce  the  best  result  upon  a  dark 
background,  as  in  the  case  of  his  favourite  style,  there  was 
nothing  equal  to  "  une  laine  claire  "  (a  light  merino  or  cashmere) ; 
and  even  colours  like  blue  were  not  to  be  despised,  since  they 
were  reproduced  of  a  light  tint,  without  the  glare  which  white 
material  shows  if  not  carefully  handled.  Silk  was  very  agreeable 
in  a  photograph,  but  was  not  rendered  so  well  as  woollen  fabric. 

M.  Joliot' s  studio  is  exceedingly  roomy.  The  dressing- 
apartments  open  almost  immediately  into  the  studio,  and 
further  on  is  the  laboratory.  The  studio  is  divided  into  two  by 
a  huge  canopy,  under  which  the  cameras  stand ;  the  latter  are 
thus  capable  of  being  directed  to  one  end  of  the  studio,  or  the 
other.  One  portion  of  the  studio  is  devoted  to  the  sole  produc- 
tion of  the  vignetted  portraits  on  a  black  ground.  Here  there  is 
but  a  single  background,  of  a  dark  red,  so  dark  that  it  scarcely 
appears  red  at  all.  To  produce  the  Carte  Russe,  the  sitter  is 
placed  some  eight  feet  from  this  ^background,  so  as  to  permit 
plenty  of  side  light  to  intervene  between  it  and  the  model,  the 
result  of  which  is  that  the  finished  portrait  has  something  of  a 
Eembrandt  look,  the  features  rounded,  and  standing  out  well  in 
relief.  On  the  shadow  side  of  the  sitter  either  white  or  blue 
curtains  are  arranged,  to  reflect  back  the  light,  and  not  to  permit 
too  much  shade  on  this  side  of  the  face.    A  negative  taken  under 

p 


210 


STUDIOS  IN  FRANCE. 


these  circumstances  does  not  require  to  be  manipulated  at  all  so 
far  as  face  and  shoulders  are  concerned,  since  these  stand  out 
boldly  from  the  black  ground  when  the  negative  is  printed ;  but 
some  little  skill  is  necessary  to  cut  off  the  bust  and  print  the 
paper  black  below  the  portrait.  But  this  printing  is  of  a  "  fond 
degrade/'  M.  Joliot  assured  us;  is  a  matter  soon  got  over  with  a 
little  practice  ;  and  it  is  altogether  a  subject  of  secondary  con- 
sideration. A  final  darkening  round  the  margin  of  the  print 
finishes  the  picture.  Portraits  produced  in  this  way,  especially 
of  ladies  in  light  summer  or  ball-room  dress,  are  exceedingly 
effective. 

At  the  other  end  of  the  studio  ordinary  portraits  are  taken. 
M.  Joliot  employs  Seavey's  backgrounds.  "  No  doubt  our  Paris 
artists  could  paint  them  as  well,  if  they  gave  themselves  the 
trouble,  but  they  won't,  and  hence  we  have  to  go  to  America.' 1 
M.  Joliot  does  not  stretch  his  backgrounds  or  hang  them  on 
rollers.  There  are  half-a-dozen  wires  running  across  the  studio 
at  the  end,  and  the  backgrounds,  provided  with  hooks,  hang  upon 
these  ;  they  are  slidden  backwards  and  forwards,  into  position, 
or  out  of  it,  according  to  the  whim  of  the  photographer. 

The  lighting  is  from  the  north,  and  there  is  so  much  of  it 
that  in  summer  weather  blue  blinds  have  to  be  exchanged  for 
white  ;  there  is  but  a  foot  of  wainscoting,  the  side  being  of  clear 
glass,  and  the  sloping  roof  of  ground  glass.  The  laboratory  is 
in  two  compartments,  the  one  for  coating  and  sensitizing  plates, 
and  the  other  for  developing.  Everything  here  was  in  apple-pi 
order.  M.  Joliot  employs  the  vertical  dipping  bath,  and  put 
in  a  good  plea  for  its  use.  He  can  cool  or  warm  his  baths  with 
very  little  trouble.  His  bath  frame  has  three  compartments, 
into  which  you  can  fit  three  baths  if  you  like,  the  baths  fitting 
very  loosely  into  the  compartments ;  he,  however,  only  puts  two 
glafs  baths  into  them,  leaving  the  centre  compartment  empty, 
and  it  is  by  means  of  this  centre  compartment  that  he  maintains 
his  bath  solution  at  any  temperature  he  likes.  In  winter,  luke- 
warm water  may  be  introduced,  in  summer  time  a  little  ice.  The 
sides  of  the  compartment  being  perforated,  the  temperature  of 
the  baths  is  soon  lowered  or  increased.  In  this  way  he  always 
works  under  the  same  conditions.  As  M.  Joliot  pointed  out,  it 
would  be  impossible  to  keep  horizontal  baths  at  an  equal  tem- 
perature by  means  of  arrangements  of  such  a  simple  nature. 

In  the  developing  room  was  another  arrangement  worthy  of 


MM.  BENQUE  ET  CIE. 


211 


note.  The  developing  solutions  were  kept  in  large  glass  barrels, 
standing  upright  in  a  row  at  the  right  hand  of  the  assistant. 
Here  were  the  iron,  pyrogallic,  and  silver  solutions  ready  for  use, 
the  vessels  provided  with  glass  taps,  underneath  which  stood 
suitable  glass  measures.  A  handle  at  the  left  hand  of  the 
assistant  further  provided  for  augmenting  and  lessening  the 
light  that  gained  admittance  into  the  dark  room,  so  that  he  could 
control  the  illumination  at  any  moment,  and  to  any  degree, 
without  moving  from  his  place. 

At  the  Maison  Lejeune  the  terms  are  : — 

15  Cartes-de-Visites,  plain  (2  poses)       ...  30  francs 

15                         vignetted  ,,           ...  30  ,, 

12  Cabinets,  plain  or  vignetted    ...       ...  60  ,, 

15  Cartes  Rimes    ...       ...       ...       ...  45 

15          n    72  „ 


MM.  BENQTJE  ET  CIE.  IN  THE  ETJE  BOISSY  D'ANGLAS. 

A  handsome  salon  on  the  first  floor  is  a  fitting  reception  room  to 
the  studio,  which  of  late  years  has  attained  such  high  reputation, 
both  in  Paris  and  in  Milan,  as  that  of  MM.  Benque  et  Cie. 
Fluted  columns,  draped  with  rich  maroon  curtains,  are  at  the 
entrance  to  this  apartment,  into  which  not  a  ray  of  direct  sun- 
light enters.  All  is  soft  and  sombre  within.  There  are  exten- 
sive windows,  but  these  are  hidden  by  loosely  festooned  drab 
silk,  so  that  while  there  is  plenty  of  illumination,  it  is  subdued 
and  yet  refulgent.  The  walls  are  of  chocolate  brown,  the  damask 
chairs  and  furniture  gold  and  black,  the  fittings  rich  and  hand- 
some. This  fine  carbon  portrait  in  frame  complete,  standing  a 
meter  high  (39  inches)  is  a  speciality  of  the  firm  Benque  et  Cie., 
and  sells  for  a  thousand  francs.  These  pictures  on  the  table  are 
what  is  termed  the  "  Paris-portrait,"  similar  in  height  to  the 
panel  or  promenade,  but  half  an  inch  broader,  a  very  attractive 
size,  but  still,  to  our  thinking,  not  so  elegant  in  its  proportions  as 
the  promenade.  Of  cabinets,  there  is  also  a  collection,  not  large, 
for  we  believe  that  there  are  not  more  than  a  score  of  photographs 
in  the  whole  salon.  Two  or  three  cartes  are  here  also,  but 
during  the  past  three  months,  our  host  tells  us,  not  a  single  carte 


212 


STUDIOS  IN  FRANCE. 


picture  has  been  taken  in  the  establishment*  Here,  too,  we  find 
Madame  Nilsson,  not  in  a  frame,  but  in  the  flesh ;  she  is  looking 
at  some  portraits  of  sister  artistes,  after  undergoing  a  lengthened 
sitting.  "  We  have  just  taken  one  hundred  cliches,"  our  friend 
whispers,  "  and  within  the  space  of  an  hour  and  a  half." 

Before  we  walk  upstairs,  we  are  presented  with  a  card  o£ 
terms.    Here  it  is  : — 

12  Cartes-de-Yisite    30  francs 

The  dozen  following    20  „ 

12  Cabinet  Portraits    80 

6       „       »,    50  „ 

The  dozen  following    60  ,, 

12  Paris  Potraits    120  „ 

6    „         „    80  „ 

The  dozen  following    100  ,, 

In  the  Eenque  establishment,  gelatine  reigns  supreme.  u  Do 
you  develop  at  once,  or  in  the  evening?"  we  ask.  "Always 
in  the  evening — we  are  now  so  confident  of  our  results  ;  of  those 
hundred  cliches  just  taken  of  Madame  Nilsson,  not  one  will  be 
developed  till  to-night."  The  development  is  done  by  artificial 
light,  by  means  of  a  gas-burner  behind  ruby  glass,  a  convenient 
tap  permitting  the  photographer  to  heighten  and  lower  the  jet 
at  will.  The  developing,  too,  for  the  most  part  is  done  mechani- 
cally. As  soon  as  some  idea  has  been  obtained  of  the  exposure  of 
the  plate,  and  the  time  and  strength  of  development,  half-a- 
dozen  cliches  are  put  together  into  a  rocking  tray.  The  deve- 
loper is  poured  over  the  films,  and  then  the  tray  rocks  to  and 
fro  by  itself,  kept  in  motion  by  a  heavy  pendulum  that  swings 
underneath.  It  saves  a  world  of  trouble,  our  host  tells  us,  and 
produces  very  uniform  results.  We  always  like  to  take  the 
sense  of  photographers  on  the  development  of  dry  plates,  and  we 
put  the  question  whether  pyrogallic  or  oxalate  treatment  is  pre- 
ferred. "Oxalate,  tou jours  — Oxalate  toujours" —  is  the 
energetic  reply. 

The  studio  is  large  and  roomy — the  largest  in  Paris,  our  friend 
says ;  at  any  rate,  it  measures  fifteen  metres  (nearly  fifty  feet  in 
length).  There  is  nothing  particular  to  be  noted  about  the 
lighting  f  top-light  is  the  dominant  light.  The  walls  are  of  very 
dark  brown,  and  we  remark  upon  this.  They  are  dark,  admits 
our  host ;  but  when  they  are  again  painted,  we  shall  colour  them 


MM.  BENQUE  ET  CIE. 


darker  still.  Large  plates  are  in  general  use  at  the  Benque 
establishment,  and  large  cameras.  As  a  rule,  six  poses  are  taken 
on  one  plate.  He  mentioued  the  other  day  the  circumstance  of 
Madame  Judic  being  pourtrayed  132  times  in  this  studio  at  one 
sitting.  She  was  at  the  atelier  for  two  hours  only,  and,  during 
that  time,  changed  her  dress  four  times.  Twenty-two  poses 
were  taken,  of  each  six  cliches,  with  an  exposure  of  about  three 
seconds.  The  negatives  were  developed  at  night,  and  there 
were  only  two  technical  failures.  "  Ellene  voyait  plus,"  when 
she  went  away  after  the  ordeal,  our  host  remarked  of  the  fair 
comedienne.  Certainly,  such  rapid  work  could  not  have  been 
undertaken  before  the  days  of  gelatine.  There  is  no  dark-room 
adjacent  to  the  studio;  the  plates  in  their  slides  are  sent  up  a 
shaft  from  the  laboratory  below,  and  delivered  close  to  the  assis- 
tant's hand  in  the  studio,  after  the  manner  of  Messrs.  "Window 
and  Grove's  studio,  described  on  another  page.  The  exposures 
are  made  by  means  of  the  ordinary  pneumatic- Cadett  shutter. 

In  the  enlarging-room  there  is  one  point  worthy  of  mention. 
The  camera  is  disposed  pretty  well  as  usual ;  but  just  in  front  of 
the  transparency  is  placed  a  swing  looking-glass  or  mirror,  per- 
haps twenty  inches  high.  This  permits,  in  a  most  convenient 
manner,  the  concentration  upon  the  transparency  of  light  that 
comes  through  a  small  opening  in  the  wall,  and  if  the  mirror  is 
turned  to  its  proper  angle  by  hand,  the  hand  being  never  quite 
steady,  no  partial  lighting  is  likely  to  ensue. 

There  are  two  printing-rooms,  and  MM.  Benque  send  the 
negatives  to  one  or  the  other,  according  to  their  density.  Thus 
in  the  top  printing-room,  which  is  on  the  roof,  the  denser  cliches 
are  to  be  found,  and  those  which  will  bear  strong  light ;  while 
in  the  more  subdued  light  of  the  lower  printing  room  are  located 
such  cliches  as  require  more  delicate  treatment.  Erom  1,200  to 
2,000  prints  are  produced  here  every  day,  for  the  firm  has  now 
a  large  publishing  connection,  and  their  portraits  go  to  every 
capital  in  Europe.  Printing  to  this  extent  would  be  impossible 
in  a  London  atmosphere,  and  for  this  reason  our  big  metropolitan 
firms  have  usually  an  establishment  in  the  suburbs  for  the  pur- 
pose. But  in  Paris  they  burn  charcoal  more  than  they  do  coal, 
and,  moreover,  when  this  is  used,  it  is  of  a  much  less  sooty 
character  than  that  employed  in  this  country. 

Starch,  prepared  fresh  every  day,  is  invariably  employed  for 
mounting  at  the  Benque  establishment ;  where  so  much  publish- 


214 


STUDIOS  IN  FRANCE. 


ing  is  done  it  is  a  matter  of  imperative  necessity  that  the  mount- 
ing should  be  depended  upon,  especially  as  black  mounts  are 
largely  used  just  now.  "We  are  glad  to  hear,  by  the  way,  that 
of  late  these  black  mounts  are  more  satisfactory  than  was  the 
case  a  short  time  ago.  Numerous  cases  of  fading  were  then  rife, 
and  the  cause,  as  our  readers  know,  Mr.  Spiller  was  able  to 
trace  to  the  presence  in  the  mount  of  a  considerable  quantity  of 
sodium  chloride,  or  common  salt.  The  test  to  discover  this — 
namely,  the  adding  of  a  few  drops  of  nitrate  of  silver  solution  to- 
water  in  which  one  of  these  has  been  steeped  for  some  hours, 
and  observing  whether  any  turbidity  results — is  so  simple  that 
any  photographer  can  make  use  of  it  for  himself. 

Besides  making  itself  known  through  its  publications,  the  firm 
also  adopts  the  practice  of  exhibiting  its  works  largely  in  Paris. 
The  Eoissy  d'Anglas,  although  a  turning  out  of  the  Faubourg  St. 
Honore,  is  not  a  very  frequented  thoroughfare,  and  hence  visitors 
to  Paris  might  well  escape  seeing  the  studio.  MM.  Beuque  et 
Cie.  have,  therefore,  opened  an  exhibition  in  the  Rue  Eoyale, 
that  familiar  street  leading  from  the  Madeleine  to  the  Place  de 
la  Concorde,  and  here  a  display  of  the  firm's  finest  work  is  ex- 
hibited. A  piece  de  resistance  is  always  present  in  the  form  of  a 
scene  from  one  of  the  Paris  plays.  Whatever  happens  to  be 
popular  on  the  boards  for  the  moment,  is  here  illustrated. 


M.  NAME,  IN  THE  EUE  D'ANJOU  ST.  HONOKE. 

In  the  dark  days  of  the  Paris  siege  in  1870-71,  when  the  fair 
capital  was  encircled  for  nearly  six  months  as  by  a  girdle  of  iron, 
two  photographers  brought  hope  and  comfort  to  the  besieged 
citizens.  The  one  (M.  Dagron)  showed  with  what  rapidity  and 
facility  despatches  were  to  be  photographed  upon  pellicle,  and 
in  such  a  way  that  a  pigeon  could  carry  a  thousand  of  them  at 
its  tail ;  and  the  other  (M.  Nadar)  as  captain  of  a  balloon  equip- 
ment, demonstrated  how  aerial  photography  could  be  practically^ 
applied  for  scouting.  "  A  la  nouvelle  de  l'approche  de  Tarmee 
Prussiene,"  we  read,  "  sous  les  murs  de  Paris,  M.  Nadar  organise 
k  Montmatre  le  premier  poste  de  ballon  captif  pour  observer 
Pennemi." 


M.  Is  AD  A  R. 


215 


In  ths  words  of  our  neighbours,  MM.  Dagron  and  Nadar 
deserved  well  of  their  country,  and  although  their  brother 
citizens  would  wish  to  forget  as  speedily  as  possible  those 
anxious  hours  of  misery  and  bloodshed  brought  so  vividly  home 
to  them,  they  still  remember  with  gratitude  the  aid  which  these 
gentlemen  brought  at  a  time  of  dire  distress.  It  is  an  ill- wind 
that  blows  no  good,  and  among  other  lessons  that  the  siege  of 
Paris  taught  was  that  a  regular  "poste  aerienne"  could  be 
established  now-a-days  by  the  aid  of  photography  and  balloons, 
and  that  the  latter,  moreover,  afforded  an  excellent  means  of 
observation  or  reconnoitring  for  an  army  in  the  field. 

Our  host,  the  captain  of  the  aerial  scouts,  in  the  red  blouse  in 
which  his  stalwart  figure  is  usually  attired  "  at  home,"  presents 
a  handsome  figure  enough ;  M.  Nadar  is  still  in  the  prime  of 
life,  his  fair  brown  moustache  and  bright  eyes  conveying  the 
idea  of  strength  and  determination,  while  his  broad  shoulders 
tell  that  he  can  both  do  and  dare.  His  aerial  photography 
experiments,  he  tells  us,  have  cost  him  30,000  francs  ;  he  con- 
siders the  problem,  however,  practically  solved,  and  if  his 
balloon  pictures  are  not  perfect  in  every  respect,  they  require 
but  little  more  attention  to  detail  to  render  them  so.  But  one 
fine  example,  we  may  say  at  once,  leaves  little  to  be  desired. 
It  is  a  picture  to  which  the  late  Sir  Charles  "Wheatstone  referred 
us  on  one  occasion,  during  a  discussion  upon  aerial  photography, 
as  the  best  result  of  its  kind.  Balloon  photographs  are  very 
rare,  and,  besides  those  of  Nadar,  we  only  know  of  one  tolerable 
success,  namely,  a  picture  of  Boston,  TJ.S.  The  pictures  of 
M.  Nadar  were  secured  upon  three-inch  plates  with  the  briefest 
of  exposure,  and  have  been  enlarged  to  something  like  twenty 
inches.  The  most  successful  of  all,  of  which  we  have  spoken, 
was  secured  at  a  height  of  320  metres.  There  is,  of  course, 
something  of  a  haze,  due  to  the  flood  of  light ;  but  we  see  the 
main  buildings  of  Paris  and  the  heights  around  with  map-like 
distinctness.  To  the  extreme  right,  is  just  a  comer  of  the  Arc 
de  Triomphe  ;  there  are  the  Eglise  E-usse  and  the  Pare  Monceaux, 
with  twenty  spires  and  domes  that  a  Parisian  would  recognize 
and  call  by  name.  Great  difficulty  was  experienced  in  over- 
coming the  gyrations  of  the  balloon  ;  but,  after  all,  it  is  rapidity  of 
exposure,  according  to  M.  Nadar,  that  is  the  key  of  the  problem. 

The  Nadar  establishment  is  a  very  extensive  one.  Passing 
through  the  corridor  you  enter  a  fine  square  hall,  which  probably 


216 


STUDIOS  IN  FRANCE. 


measures  forty  feet  each  way.  Here  are  pictures  of  Paris,  under 
the  earth  and  over  the  earth,  the  former,  representations  of  the 
famous  catacombs,  secured  by  electric  light.  M.  Kadar,  junior, 
was  good  enough  to  accompany  us  on  a  tour  of  inspection,  and 
chatted  affably  over  prospects  of  photographers  and  their  position. 
The  carte  panneau — the  panel  portrait — was  already  in  such 
requisition  at  the  Nadsr  establishment  that  quite  one-third  of 
the  work  done  was  in  this  form.  Besides  this  new  format,  there 
was  the  carte  Naclar,  a  very  large  and  handsome  format,  about 
the  size  of  two  panel  portraits  placed  side  by  side.  The  price 
charged forpanel portraits  was  120  francs  the  dozen,  while  asmuch 
as  200  francs  per  dozen  was  asked  for  the  carte  ISadar.  Thirty 
francs,  for  which  the  sitter  received  fifteen  cartes-de-visite,  was 
the  lowest  fee  charged. 

To  ascend  from  the  magnificent  entrance  hall  a  lift  is  pro- 
vided, which  takes  the  visitor  to  the  dressing-rooms  and  studio. 
The  former  are  tastefully  fitted  up,  and  the  studio  is  large  and 
lofty.  So  lofty,  indeed,  and  so  much  light  is  there,  that  blue 
curtains  are  stretched  across  at  some  distance  from  the  roof  to 
lessen  the  illumination.  These  blue  linen  curtains  arc  strung  on 
wires,  so  as  to  be  manipulated  with  case.  There  is  very  little 
skirting-board  or  wainscoting,  the  side  window  coming  down 
very  low.  They  like  dark  backgrounds  at  the  Nadar  establish- 
ment (those  we  saw  were  all  of  a  blackish  drab),  and,  to  prevent 
the  flooring  being  seen  in  a  standing  portrait,  or  the  line  of  the 
background  where  it  touches  the  floor,  sand  is  thickly  strewn 
about.  The  effect  of  the  latter  was  remarkably  good  in  the 
panel  portraits  we  saw. 

M.  JSTadar  fils  discussed  with  us  at  some  length  the  difficulty 
of  securing  talented  assistants.  It  is  not  a  question  of  money 
at  all,  he  assured  us ;  good  competent  photographers,  who  are 
artists  as  well,  could  command  high  prices.  The  pay  of  assist- 
ants du  premier  rang  was  500  francs  per  month  (£240  per 
annum) ;  but  he  knew  a  case — an  isolated  one,  it  is  true — in 
which  mille  francs,  or  double  the  above  amount,  was  paid.  In 
the  principal  studios  in  Paris,  Vienna,  and  Berlin  there  were 
assistants  of  all  nationalities.  But  while  the  Germans,  some 
time  ago,  by  reason  of  their  skill  with  the  retouching  pencil, 
were  to  the  fore,  the  Italians  now  seemed  to  be  making  way. 
These  rates,  of  course,  only  referred  to  first-class  men  5  but  they 
were  such  as  well-known  studios  paid.     Unfortunately,  the 


M.  NADAR. 


217 


number  of  talented  assistants  available  -was  very  small,  for  he 
who  secured  a  good  man  took  care  never  to  lose  him  again.  A 
percentage  of  the  profits,  or  sometimes  an  offer  of  partnership, 
was  necessary  to  retain  him.  The  studios  of  Yienna,  Paris, 
London,  Berlin,  &c,  in  the  first  rank  were,  after  all,  not  very 
numerous,  and  consequently  you  might  tell  the  number  of  com- 
petent assistants  upon  your  fingers. 

As  to  photographic  apparatus,  said  M.  Nadar  fils,  touching 
upon  another  point,  you  have  it  all  your  own  way  in  England. 
UI  am  coming  to  London  in  a  little  while,  and  for  no  other 
reason  than  to  purchase  instruments  and  apparatus. "  "But 
don't  you  find  our  apparatus  rather  more  expensive  than  what 
you  buy  on  the  Continent  ? "  we  naturally  asked.  M.  Kadar 
did  not  think  so.  "  Your  work  is  so  good  that  it  always  pays 
to  buy  it."  So  our  opticians  and  camera-makers  need  not 
despair  yet,  and  we  hope  sincerely  that  they  may  long  continue 
to  enjoy  the  same  reputation.  That  they  have  been  in  the  van 
for  years  past  is  well  known.  Ten  years  ago,  when  on  a  visit 
to  Lr.  Yogel,  in  Berlin,  we  well  remember  the  ecstatic  delight 
with  which  one  of  the  worthy  doctor's  pupils  spoke  about  the 
new  camera  that  was  coming  all  the  way  from  England.  We 
often  think  of  him  now,  when  we  see  the  shining  mahogany,  and 
its  brass  and  ivory  fittings,  and  wonder  if  our  sanguine  friend  in 
Germany  was  satisfied  with  the  apparatus  which  gave  him  so 
much  anticipatory  pleasure. 

The  Nadar  establishment  is  singular  for  the  fact  that  no  cartes 
emaillees  issue  from  the  premises,  a  style,  as  we  have  before 
remarked,  which  is  still  exceedingly  popular  in  Paris.  Eor  the 
glaze  and  embossing,  the  public  are  quite  willing  to  pay  half 
as  much  again,  and  thus  both  customer  and  photographer  join 
hands.  But  M.  Nadar  is  evidently  bent  upon  pushing  the  panel 
picture  instead,  and,  as  the  portraits  of  a  large  number  of  cele- 
brities have  recently  been  published  in  this  form,  it  is  daily 
growing  more  and  more  popular.  At  the  same  time,  120  francs 
is  not  an  amount  that  all  the  world  and  his  wife  is  ready  to  pay ; 
although  it  always  seems  to  us  that  a  sum  that  visitors  grudgingly 
give  at  home  is  freely  disbursed  in  the  French  capital. 

Those  who  visit  the  Rue  d'Anjou  will  say  that  M.  Nadar  has 
given  up  the  command  of  his  war  balloons  to  some  purpose.  He 
seems  to  be  quite  as  successful  in  his  peaceful  pursuits  here,  as 
when  scouting  in  the  air  with  the  Prussians,  at  the  walls  of 
Paris — as  good  a  man  behind  the  camera  as  before  the  enemy. 


218 


STUDIOS  IN  FRANCE. 


M.  LIEBERT  IN  THE  RUE  DE  LONDRES. 

Not  very  far  from  the  Ouest  railway  station,  with  which 
passengers  coming  from  England  by  the  Newhaven  and  Dieppe 
route  first  become  acquainted  on  their  arrival  in  the  French 
capital,  is  the  new  studio  of  M.  Liebert.  The  establishment  is 
noteworthy  is  this  respect,  that  it  has  been  built  expressly  for 
photography,  and  with  a  view  to  meet  the  requirements  of  the 
art  and  its  votaries.  For  some  reason,  which  we  were  not  clever 
enough  to  discover,  M.  Liebert  calls  his  studio  by  the  name  of 
4 1  Photographie  Americaine,"  for  whether  it  is  like  an  American 
photographic  establishment  or  not,  we  are  unable  to  say.  It  is 
a  lofty  building  in  the  Rue  de  Londres — M.  Liebert  has  a 
formidable  rival  near  iu  the  person  of  M.  AValery — and  from 
cellar  to  basement  it  is  taken  up  with  photographic  requirements* 
Downstairs,  in  the  back  portion  of  the  house,  the  toning,  fixing, 
and  washing  of  prints  are  carried  on,  operations  that  arc  thus  con- 
ducted with  little  change  of  temperature  ;  while  in  front  are 
situated  the  engine  and  electric  machine  that  supply  M.  Liebert 
with  illumination  at  night.  The  engine  is  one  of  the  Otto  gas 
engines,  which  bid  fair  to  supersede  boiler  and  steam  engine 
altogether  in  cases  where  limited  power  only  is  required,  and 
this  in  a  dwelling-house  or  populous  locality.  There  is  no  need 
to  light  a  fire  an  hour  previously,  for  the  purpose  of  getting  up 
steam,  nor  of  enlisting  into  your  service  a  trained  engineer 
learned  on  the  subject  of  pressure  guages  and  boiler  fluids. 
"When  you  want  to  begin  work,  you  simply  turn  on  the  gas,  light 
a  single  jet,  give  one  of  the  wheels  a  swing  round,  and  the 
engine  is  started.  The  consumption  of  gas  in  an  engine  of  about 
one-horse  power  is  said  to  be  about  threepence  per  hour.  M.. 
Liebert  has  a  Granmie  machine  for  grinding  out  his  electricity, 
and  this  is  then  conducted  above  to  the  first  floor,  where  the 
electric  light  studios  are  situated. 

We  now  ascend  to  the  ground  floor.  Here  are  the  mounting 
room — M.  Liebert  employs  starch  mixed  with  a  little  gelatine 
for  mounting — the  lobby,  and  entrance  hall.  The  visitor  walks 
upstairs  to  the  first  floor,  the  passage  and  staircase  windows 
tastefully  set  with  photographic  transparencies,  produced  upon 
carbon  tissue.  We  now  reach  the  bureau,  and  right  and  left  are 
two  handsome  salons  filled  with  pictures  of  every  kind  and  des- 


M.  LIEBERT. 


2m 


cription.  M.  Liebert,  besides  being  an  author  of  some  note — 
his  u  Photographie  en  Amerique  "  being  a  most  trustworthy  hand- 
book— is  a  thoroughly  business  man,  and  marches  with  the  times. 
Portraits  are  taken  day  and  night,  and  there  is  a  wide  choice 
before  the  customer  as  to  the  mode  of  finishing.  The  other 
evening,  M.  Maurel  and  a  party  of  brother  and  sister  artistes 
visited  the  studio  in  costume  after  their  performance  at  the  Grand 
Opera,  to  be  pour  tray  ed  by  the  electric  light,  and  thus  saved  the 
trouble  of  making  a  morning  appointment.  If  ladies  and  gentle- 
men tire  of  looking  at  pictures,  there  are  other  amusements  open 
to  them  in  the  establishment.  M.  Liebert  provides  a  "  Salle  de 
Billard"  and  a  "  Terrassc  d'Agrernent"  for  the  convenience  of 
his  clients  while  waiting,  and  no  doubt  if  they  asked  to  be 
accommodated  with  a  croquet  green,  or  with  a  lawn-tennis 
ground,  M.  Liebert  would  have  sufficient  enterprize  to  provide 
these  too.  Indeed,  for  a i  i  Photographie  Americaine  "  to  be  with- 
out an  American  bowling  alley  is  already  a  glaring  defect,  we 
beg  to  point  out.  Only,  the  great  difficulty  in  providing 
luxuries — as,  no  doubt,  M.  Liebert  has  found  out  by  this  time — 
is  to  know  where  to  stop  ;  however  this  may  be,  our  host  draws 
a  hard  and  fast  line  at  billiards  just  now. 

Enamelled  portraits,  or  cartes  emaillees,  are  here  very  much  in 
vogue,  and  so  is  the  new  panel  portrait,  a  pair  of  which  M. 
Liebert  presents  us  with,  taken  by  electric  light.  He  has  two 
electric-light  studios  leading  out  of  the  salons,  the  one  for 
vignettes,  and  the  other  for  plain  portraits.  The  reflector, 
which  is  hoisted  on  high  at  one  side  of  the  sitter,  is  a  huge  basin 
of  white  paper  measuring  three  or  four  feet  in  diameter,  the 
electric  light  being  thrown  into  this  receptacle  by  a  little  saucer- 
shaped  reflector  placed  against  the  electric  spark.  The  rays  are 
thus  thrown  into  the  interior  of  the  large  white  reflector,  to  be 
cast  back  again  upon  the  sitter.  M.  Liebert  can  get  a  good  panel 
picture  with  the  electric  light  in  five  seconds  if  he  uses  a  gelatine 
plate,  but  an  exposure  of  not  less  than  forty  seconds  is  necessary 
in  the  case  of  wet  collodion.  The  pictures  M.  Liebert  was  good 
enough  to  give  us  we  have  very  carefully  examined,  and  they  are 
certainly  little  inferior  to  results  obtained  by  daylight. 

Before  proceeding  upstairs,  we  secure  a  card  of  terms  at  the 
bureau.  The  carte  emaiilee  is  so  much  a  matter  of  course  here 
that  it  occupies  a  very  prominent  position  in  the  list  of  prices  at 
M.  Liebert' s  establishment. 


220 


STUDIOS  IN  FRANCE. 


Cartes,  per  dozen,  20  francs,     or  Enamelled,  35  francs. 
Cabinets,      ,,       40    ,,  ,,  65 

Cartes,  per  hund.,  100    ,,  220  ,, 

Cabinets,      ,,     225    ,,  425 
The  panel  portrait  is  charged  at  the  rate  of  a  hundred  francs  the 
dozen,  not  enamelled. 

It  will  be  seen  that  a  very  considerable  charge  is  made  for 
enamelling — we  will  describe  M.  Liebcrt's  modus  operandi 
presently — and  it  is  for  this  reason  that  the  style  of  portrait  is 
humoured  by  Parisian  photographers.  "  As  an  artist,' '  said  M. 
Liebert  to  us,  very  frankly,  "  L  dislike  them  much  ;  as  a  man  of 
business,  I  regard  them  as  a  very  good  thing.  The  public  are 
enchanted  with  them  ;  they  like  the  high  glaze  and  finish,  for  it 
flatters  their  vanity  to  make  them  appear  like  the  superfine 
pictures  we  see  on  bonbon  boxes,  and  I  am  not  the  man  to  stand 
in  the  way  of  my  patrons." 

There  is  little  to  remark  in  M.  Liebert's  studios ;  he  has  two, 
a  large  one  fitted  for  the  taking  of  ordinary  portraits,  and  a  smaller 
one  upon  the  roof,  and,  therefore,  with  plenty  of  light,  for  the 
special  treatment  of  children,  and  where  shortness  of  exposure  is 
the  main  desideratum.  It  was  very  hot  during  our  visit  to  the 
studio,  but,  strange  to  say,  in  M.  Liebert' s  studio  the  tempera- 
ture was  comparatively  cool.  And  for  this  reason  ;  by  a  clever 
contrivance  water  was  permitted  to  run  down  the  roof  and  sides 
of  the  studio,  not  in  a  torrent,  but  in  a  thin  flowing  and  con- 
tinuous stream,  which  had  the  effect  of  effectually  cooling  the 
atmosphere  within.  A  sound  roof  is  obviously  necessary  if  such 
a  system  is  made  use  of,  but  in  the  case  of  M.  Liebert's  studio 
not  a  drop  of  moisture  found  its  way  between  the  panes. 

M.  Liebert  believes  in  plenty  of  room  in  his  dark  laboratory ; 
for  it  is  without  exception  the  largest  apartment  of  the  kind  we 
wot  of,  if  we  leave  out  of  consideration  the  roomy  laboratories  of 
the  Autotype  Company  at  Ealing.  Only  those  who  are  cramped 
all  day  long  in  close  dark  closets  can  appreciate  to  the  full  a 
spacious  dark  room  where  the  air  is  cool  and  there  is  plenty  of 
it.  It  opens,  too,  into  the  cooler  part  of  the  glass  room,  as  should 
be  the  case  in  well-constructed  studios.  Considering  that  assis- 
tants have  often  to  remain  for  hours  together  coating  and  deve- 
loping plates  in  the  dark  room,  it  is  surely  a  wonder  that  so 
little  attention  is  usually  paid  to  its  temperature  and  ventilation. 
Since  the  production  of  glazed  photographs,  or  cartes  emaille'es, 


M.  LIEBEKT. 


221 


still  receives  so  much  attention  in  Paris,  we  make  no  apology  for 
referring  once  more  in  these  columns  to  their  production.  The 
method  of  preparationrecommended  by  M.  Liebert  is  as  follows : — - 
Some  plates  of  glass  (patent  plate)  are  carefully  cleaned ;  they 
are  either  rubbed  with  a  little  powdered  talc,  or  with  wax  dis- 
solved in  ether;  but,  better  still,  the  edges  are  straightway 
covered  with  fresh  albumen  solution  laid  on  with  a  brush.  After 
drying  for  a  quarter  of  an  hour  or  so,  normal  collodion  is  applied, 
to  which  a  f ew  drops  of  hydrochloric  acid  have  been  added,  the 
acid,  however,  being  only  used  when  neither  wax  nor  talc  has 
been  applied  to  the  glass.  The  plates  thus  coated  are  put  care- 
fully away  to  dry,  while  the  prints  are  being  prepared. 

These  prints  are  first  dipped  into  warm  gelatine.  One  hundred 
grammes  of  good  gelatine  are  soaked  in  a  litre  of  cold  water  for 
an  hour,  and  then  dissolved  by  the  aid  of  a  water-bath.  The 
solution  is  filtered  warm  through  a  piece  of  muslin  into  a  vessel 
standing  on  the  water  bath,  and  thus  maintained  at  a  warm  tem- 
perature, in  which  condition  the  gelatine  must  remain  during  the 
whole  process.  A  collodion  plate  is  coated  with  some  of  this 
gelatine,  and  then  one  of  the  prints,  which  have  been  dipped 
into  the  warm  solution  also,  is  placed  face  downwards  upon  the 
glass  surface.  (The  carte  or  cabinet  print,  by  the  bye,  should 
have  been  trimmed  first  of  all.)  Then  a  sheet  of  cardboard, 
previously  dipped  into  warm  water,  is  laid  upon  the  print  and 
pressed  down  by  means  of  a  thin  piece  of  waterproofing,  which 
has  also  been  kept  in  warm,  water. 

A  stout  strip  of  glass,  such  as  used  for  squaring,  is  now  energeti- 
cally drawn  to  and  fro  across,  with  its  angle  against  the  water- 
proof, and  in  this  way  all  air-bubbles  are  rapidly  got  rid  of.  The 
waterproof,  after  this  thorough  manipulation,  is  removed,  the 
plate  is  put  upon  a  stand,  and  allowed  to  dry  in  a  highly  heated 
chamber.  At  the  end  of  this  rjeriod  the  print  is  cut  round  with 
a  sharp  knife  inside  the  border  of  albumen,  and  will  then  leave 
the  glass  of  itself.  It  may  be  embossed  in  a  press,  or  finished  in 
its  present  condition. 

Instead  of  thin  cardboard,  successive  sheets  of  paper,  all  dipped 
into  the  warm  gelatine,  may  be  laid  upon  the  print  to  mount  it, 
a  plan  preferred  by  many.  Finally,  the  cartes  emaillees  should 
have  a  fly-sheet  of  tissue  paper  attached  to  them  to  protect  the 
surface  as  much  as  possible. 


222 


STUDIOS  IN  FRANCE. 


AT  THE  PEEFECTUEE  DE  LA  POLICE  IN  PARIS. 

A  stone  gateway,  with  a  red  flag  drooping  over  it,  is  pointed 
out  to  us  as  the  Prefecture.  The  armed  sentry  in  front  asks  no 
questions,  so  we  pass  on  under  the  arch  into  a  cheerful  court- 
yard smoothly  asphalted.  AVe  hear  a  long,  official-looking 
document  hy  way  of  introduction,  and  this  we  keep  ready  to 
hand,  lest  some  sudden  attempt  at  arrest  he  made,  hefore  there 
is  time  to  show  our  credentials.  Fortunately  there  is  no  fear  of 
this.  A  policeman  in  the  courtyard  bars  the  way  for  the  first 
time  ;  but  he  is  anything  but  a  dangerous  character.  He  is  dis- 
posed to  be  argumentative,  though,  and  in  the  end  gets  very 
excited  over  the  address  on  the  letter.  It  is  for  the  chief  of  the 
Paris  detective  department,  but,  unfortunately,  the  name  has 
been  written  with  a  y  instead  of  an  e.  "We  point  out  that 
probably  this  will  make  no  difference — it  is  the  same  thing. 
"  But  it  is  not  the  same  thing,"  is  the  hot  reply.  "  Cet  y  grec, 
la, — what  does  it  mean  ?  "  As  he  taps  at  the  ' '  y  grec  "  excitedly, 
we  carefully  look  at  it  again,  but  can  afford  no  .other  explana- 
tion. "  Dites  done,  M'elle,"  says  the  policeman,  turning  to  a 
young  lady  who  is  quietly  sewing  at  an  open  window  in  the 
court-yard;  "have  the  goodness  to  look  at  that  letter."  The 
young  lady  reads  the  address,  and  thinks  it  is  all  right. 
"  Mais  cet  y  grec,"  responds  the  guardian  of  the  law,  still 
warmly.  The  young  lady  calmly  thinks  with  us  that  it  does 
not  matter  much,  and  in  these  circumstances  the  policeman  gives 
the  point  up,  and  permits  us  to  proceed. 

Upstairs  to  the  top  of  a  lofty  building  and  we  enter  an  ante- 
room, where  several  stern-faced  men,  clothed  from  top  to  toe  in 
sombre  black,  are  sitting  at  a  table.  We  perform  our  best  bow, 
and  present  our  credentials.  "No  one  makes  an  observation,  but 
we  are  carefully  scanned,  and  then  ushered  into  a  salon,  and 
the  handle  turned  upon  us. 

It  is  a  salon  comfortably  furnished,  the  chairs  and  settees 
uniformly  covered  in  dull,  green  cloth.  There  are  no  nick-nacks 
beyond  a  clock,  which  ticks  solemnly.  The  walls  are  bare  ;  the 
sideboard  is  bare  ;  but  on  the  table  are  two  solitary  objects,  an 
inkstand  and  a  little  bowl  of  sand,  for  the  instant  drying  up  of 
writing,  so  that  you  could  be  sent  to  the  Bastile — if  there  were 
one — on  the  spot.  Time  goes  on,  and  we  wait  a  good  half  hour 
by  the  clock  in  the  salon  vert.    We  begin  to  wish  we  had  read 


PREFECTURE  DE  LA  POLICE. 


223 


that  letter  of  introduction  before  we  presented  it.  "Lock  up 
the  bearer,"  or  "  The  gentleman  being  rather  inquisitive,  keep 
him  for  the  morning  and  let  him  go,"  might  have  been  inside. 
We  have  plenty  of  time  to  think  over  the  insanity  of  practical 
jokes,  and  the  silliness  of  some  people  who  continually  practise 
them. 

Presently  the  door  is  opened,  and  one  of  the  solemn  black 
greffiers  beckons  us.  "Without  a  word  we  follow  him  down  one 
passage  and  up  another,  until  he  throws  open  a  door,  and  we  are 
in  the  presence  of  the  chief  of  the  Paris  detective  police. 

A  courteous  gentleman,  still  young,  with  a  smiling  face  and 
friendly  manner,  wc  find  him,  this  head  of  the  secret  machinery 
of  the  gay  capital ;  he  is  good  enough  to  place  himself  entirely 
at  our  disposal.  "I  will  accompany  you  through  our  photo- 
graphic establishment  myself,  and  you  shall  see  everything  that 
interests  you." 

He  is  as  good  as  his  word.  He  puts  on  his  hat,  and  leaving 
word  with  one  of  our  former  solemn  gaolers  that  he  is  gone  to 
the  photographic  establishment,  accompanies  us  down  several 
flights  of  steps.  "We  cross  a  yard,  and  perceive  through  an  open 
door  the  dark  forms  of  policemen,  ready  armed  and  accoutred, 
lying  at  full  length  over  the  floor  in  various  attitudes.  "La 
poste,"  explains  our  friend — it  is  a  force  ready  to  turn  out  for 
duty  at  any  moment.  We  reach  at  length  the  basement  of  the 
building.  Here  all  is  prepared  for  our  reception;  we  had 
evidently  been  kept  waiting  until  the  rooms  were  put  into  apple- 
pie  order.  An  officer  of  the  rank  of  inspector  of  police,  under 
whose  direct  charge  the  rooms  are  placed,  receives  us,  and  in  his 
company  we  proceed  to  make  the  inspection. 

This  is  the  mounting  and  finishing  room,  and  here  are  batches 
of  prints — carte  size — ready  for  issue.  Let  us  look  at  this  double 
row  of  portraits  on  the  table,  first  of  all ;  they  are  copies,  and 
taken  obviously  from  portraits  more  or  less  good.  They  are  of 
men,  some  of  them  old,  and  some  very  young,  habited  in  ordinary 
clress,  and  for  the  most  part  very  untidy  about  the  hair  and 
beard.  There  is  not  the  trace  of  a  razor  among  them.  Hairy 
individuals,  who  have  an  aversion  to  the  barber,  and  whose 
features  would  evidently  be  improved  by  the  lavish  application 
of  yellow  soap,  they  are  most  of  them  the  counterparts  of  whom 
may  be  seen  every  day  in  the  back  streets  of  Soho.  "  Nihilists," 
the  chief  briefly  explains. 


224 


STUDIOS  IN  FRANCE. 


Affairs  in  Russia  have  made  European  Governments  extra 
cautious  about  the  un soaped  and  unshaven  of  the  community ; 
and  this  collection  is  the  result  of  extensive  research  by  the 
police  of  Paris. 

"Enfants  perdus,"  explains  our  friend  a  second  time,  for  wc 
have  taken  up  some  pictures  of  children  who  seem  innocent 
enough.  These  portraits  are  exceedingly  useful  in  trying  to  find 
out  parents ;  the  police  cany  the  pictures  into  any  quarter  in 
which  the  children  are  likely  to  be  known,  and  show  them 
about.  Photography  has  been  found  a  most  efficient  aid  in 
restoring  children  to  their  parents,  or  rather  in  discovering  the 
whereabouts  of  those  who  have  deserted  their  offspring. 

These  pictures  are  scarcely  so  attractive.  The  dull  look  of 
remorse  borne  by  most  of  their  sad,  still  faces  is  terrible ;  they 
are  portraits  taken  at  the  Morgue,  where  all  unknown  dead 
bodies  found  in  Paris  are  carried.  A  large  number  of  copies 
are  printed  if  foul  play  is  presaged,  but  every  unknown  body  is 
thus  recorded. 

This  heap  of  untrimmed  and  unmounted  portraits  of  men  and 
Women  represent  the  daily  takings  of  the  Paris  police.  They 
will  be  mounted,  sorted,  and  presently  put  upstairs  in  the 
Record  Office.  They  arc  ordinary  persons  enough,  the  sitters, 
of  a  low  class  most  of  them,  but  with  nothing  at  all  to  show 
they  are  criminals.  As  portraits  they  are  admirable,  however, 
and  we  may  at  once  say  that  the  work  at  the  Prefecture  is  simply 
very  good  indeed.  The  manner  of  proceeding  by  the  Paris  police 
is  as  follows  : — Everyone  charged  with  crime  or  misdemeanour 
of  a  grave  nature,  who  is  brought  to  the  Prefecture,  is  photo- 
graphed forthwith.  It  does  not  matter  whether  in  the  end  he  is 
proved  innocent  or  guilty,  he  is  taken  to  the  studio,  which  is 
situated  in  the  same  block  of  buildings  as  the  court.  As  the 
prisoner  quits  the  court  he  is  at  once  brought  before  the  camera. 
On  an  average,  forty  to  fifty  portraits  a  day  are  taken,  and  these 
are  forthwith  printed ;  some  few  may  afterwards  be  cancelled, 
where  innocence  is  manifest ;  but  if  there  is  the  least  suspicion, 
the  portrait  is  pigeon-holed ;  it  maybe  difficult  to  take  the  like- 
ness a  second  time.  In  this  country,  as  most  of  our  readers 
know,  it  is  not  permitted  to  photograph  an  unconvicted  person. 
Gelatine,  by  the  way,  has  not  yet  found  its  way  to  the  Prefec- 
ture ;  as  the  portraits  are  only  carte  size,  however,  an  exposure 
of  five  or  six  seconds  usually  suffices. 


PREFECTURE  DE  LA  POLICE. 


225 


The  French  criminal  portraits  are  certainly  more  valuable  than 
our  own.  The  men  and  women  in  Paris  are  pourtrayed  as  they 
usually  are  in  everyday  attire,  and  with  all  their  peculiar 
personalities  about  them,  as  to  manner  of  wearing  hair,  beard, 
&c.  Most  of  our  portraits,  on  the  other  hand,  depict  the  men 
shaven  and  shorn,  in  the  grey  convict  dress,  and  therefore  as 
they  are  never  likely  to  be  seen  outside  the  prison  walls.  In 
France  the  governors  of  prisons  care  little  about  the  appearance 
of  their  charges ;  it  rests  with  the  detective  and  police  depart- 
ment to  look  after  criminals  at  large,  and  these  authorities,  to 
assist  themselves,  prefer  to  have  portraits  of  the  men  and  women 
as  the  latter  are  seen  every  day  in  the  streets. 

We  go  upstairs  into  the  Record  Office.  There  are  two  huge 
presses,  containing  in  all  the  portraits  of  40,000  bad  characters. 
In  one  press  are  portraits  arranged  according  to  names,  in  the 
other  according  to  crimes.  In  deep  pigeon-holes  fit  long  narrow 
trays,  full  of  cartes-de-visite.  Each  tray  measures  about  two  feet 
in  length,  and  when  slipped  into  the  pigeon-hole,  it  shows  on  its 
outward  face  certain  letters  of  the  alphabet.  The  first  is  marked 
A — A  M,  and  it  contains  portraits  of  criminals  whose  names 
begin  with  these  initials.  The  cartes  are  loose  in  the  long  box, 
but  all  in  order,  so  that  a  man  or  woman  may  be  picked  out  at 
once.  Here,  in  the  other  press,  the  pigeon-holes  are  divided  into 
groups,  over  each  being  the  nature  of  crime,  such  as  assasinat,  vol, 
expulses,  moeurs,  &c.  The  chief,  at  random,  takes  down  a  long 
box  of  the  expulses,  or  banished  ones,  and  looks  them  through. 
We  divine  what  he  is  doing.  Out  of  compliment  to  ourselves  he 
is  trying  to  find  an  Englishman  among  them,  but  his  search  is 
in  vain.  Italians  turn  up  without  number,  and  Austrians  and 
Eussians,  but  no  English.  We  suggest  that  the  search  is 
impossible — there  are  no  bad  Englishmen.  "Attendez,"  says 
the  inspector,  and  he  goes  to  work  at  another  box.  Eut  chef  and 
sous-chef  are  equally  unfortunate,  and  in  a  few  minutes  laughingly 
give  up  the  job.  The  name  and  other  particulars  are  scratched 
on  the  negative,  so  that  they  print  in  black  upon  the  portrait, 
and  are  quite  inseparable.  This  is  a  neater  and  better  plan, 
we  think,  than  chalking  the  particulars  on  a  black-board  and 
photographing  the  latter  with  the  convict,  the  plan  adopted  in 
Great  Britain. 

Another  feature  in  the  photographic  establishment  is  the 
enlarging  of  handwriting,  to  establish,  if  possible,  identity  of 


226 


STUDIOS  IN  FRANCE. 


character  between  an  acknowledged  hand  and  that  upon  a  spurious 
document.  Here  is  a  name  written  across  a  receipt-stamp 
enlarged  ten  or  twelve  times ;  there  is  no  difficulty  about  examin- 
ing the  giant  up  and  down  strokes  in  every  particular.  If  any 
writing  is  characteristic  of  a  man,  the  character  comes  out  in  a 
marked  manner  as  soon  as  enlargement  takes  place.  Any  slight 
spluttering  of  the  pen  in  making  an  upstroke,  or  any  particular 
flourish  or  defect  about  certain  letters,  is  at  once  detected.  On 
the  walls  of  the  Record  Office  are  many  examples  of  enlarged 
handwriting,  which  have  served  to  discover  forgery,  and  of 
which  the  police-photographers  are  very  proud ;  they  attach, 
indeed,  exceeding  importance  to  this  feature  of  photographic 
detection. 

The  printing  room  and  the  washing  room  offer  little  of 
importance  ;  they  are  well  arranged,  exceedingly  clean,  and 
judiciously  appointed.  But  before  taking  our  departure,  the 
chief  invites  our  attention  to  the  photographic  carriage,  which  is 
a  valuable  item  of  the  establishment.  It  is  a  fine  vehicle, 
painted  black  within  and  without,  about  the  size  of  an  ordinary 
police  van.  It  is  fitted  as  a  dark  laboratory,  with  sinks,  shelves, 
handy  seats,  and  all  conveniences.  In  cases  of  fire,  murder,  and 
serious  crimes,  a  view  is  taken  of  the  scene  or  surroundings,  and 
if  a  body  is  found  under  suspicious  circumstances,  a  photograph 
is  taken  on  the  spot,  if  possible,  before  the  body  is  tampered  with. 
It  is  to  perform  duties  of  this  description  that  the  van  is  made 
use  of ;  and  such  importance  does  the  Prefecture  attach  to 
photographs  secured  on  the  spot,  that  it  did  not  hesitate  to  spend 
a  sum  of  7,000  francs  on  the  vehicle.  On  the  whole,  the  police 
photographic  establishment  in  Paris  is  most  complete  ;  and  it  is 
not  only  a  model  establishment,  but  one  that  has  not  its  counter- 
part in  any  other  country. 


STUDIOS    IN  PRUSSIA. 


HERR  J.  C.  SCHAARWACHTER  IN  THE  FRIEDRICHS- 
STRASSE,  BERLIN. 

A  neat  little  office,  with  counter  and  show-cases  around  the  room, 
forms  the  ante-chamber  of  Herr  Schaarwachter' s  studio.  Herr 
Schaarwachter  enjoys  a  high  reputation  as  a  portraitist — perhaps 
the  highest  in  Berlin.  His  work,  whether  it  is  a  soft  vignette, 
or  a  deep  and  vigorously-printed  study,  betokens  the  care  and 
assiduity  of  a  man  who  loves  his  calling,  and  strives  his  every 
nerve  for  success.  Like  Luckardt,  "Herr  Schaarwachter  poses 
every  model  himself,  and  employs  plate  after  plate  on  a  difficult 
subject  until  the  sun  declines,  and  the  model  grows  aweary. 
The  photographer  himself,  however,  seems  never  to  tire ;  the 
interest  he  takes  in  his  work  keeps  up  his  unflagging  spirit. 
Herr  Schaarwachter' s  hour  for  ending  his  labours  in  the  glass- 
room  is  two  o'clock  ;  but  it  was  five  ere  he  regretfully  gave  back 
his  sitter — a  tiny,  blonde-haired  English  Miss,  of  four  or  five — 
into  the  charge  of  her  parents. 

Before  we  leave  the  office,  there  is  one  practical  feature  about 
it  that  may  be  recorded,  since  it  demonstrates  what  may  be  done 
in  a  small  space  towards  the  exhibition  of  pictures.  There  is 
against  one  of  the  walls  a  cabinet,  on  the  inside  of  which  are 
attached  photographs  of  various  kinds.  The  inside  wall,  you 
see,  is  not,  however,  the  actual  back  of  the  cabinet,  for  you  may 
seize  and  open  it  (it  is  on  hinges),  and  behind  is  displayed 
another  show  of  pictures.  This  second  back  opens  in  like 
manner,  and  displays  a  third  and  fourth,  so  that  the  cabinet 
holds  a  large  collection  which,  while  readily  displayed,  are  within 
a  very  small  compass.  But  the  best  of  the  arrangement  is  its 
exceeding  simplicity.  The  false  backs,  or  walls,  that  open  one  after 
another,  are  all  on  the  same  hinge,  or,  rather,  turn  on  the  same 
pivot.  As  shown  in  our  sketch,  it  is  only  necessary  to  lengthen 
the  arm  of  every  successive  hinge,  in  order  to  make  one  back 
fold  over  the  other.  Thus  the  outer  back  or  flap  of  the  cabinet, 
which  folds  over  all  the  rest,  is  made  fast  to  hinge  a,  while  the 
next  in  order  is  fixed  to  b,  until  we  come  to  the  inside  flap  of 


228 


STUDIOS  IN  PRUSSIA. 


all,  which  is  carried  by  hinge  e.  "With  this  economical  means 
of  exhibiting  pictures,  the  customer  need  go  no  further  than  the 
little  counting-house  to  select  the  kind  of  portrait  he  desires. 


A  handsome  salon,  the  furniture  covered  with  green  velvet, 
serves  as  waiting-room ;  but  there  are  few  portraits  to  be  seen 
here,  as  the  visitor  is  supposed  to  have  made  his  selection  ere  he 
penetrates  thus  far. 

In  the  glass-room  there  are  several  points  to  note.  In  the 
first  place,  Herr  Schaarwachter  has  no  lines  or  cords  for  the 
moving  of  his  blinds  or  curtains.  These,  of  blue  linen,  hanginvery 
loose  festoons  from  the  roof .  Brass  wires  run  the  whole  length 
of  the  glass  roof ;  they  are  parallel,  and,  perhaps,  two  feet  apart. 
They  are  kept  taut — this  is  very  necessary — in  the  same  way, 
pretty  well,  as  our  wire  fencing  ;  that  is,  each  end  of  wire  passes 
over  a  roller  (a),  and  then  round  a  wheel  furnished  with  a  cog 


(i).    On  the  face  of  the  cog-wheel  are  two  holes  (c)  into  which 
a  key  or  winch  fits,  for  the  purpose  of  keeping  the  wire  taut. 
The  arrangement  can  easily  be  understood  from  our  cut  (fig.  2). 
It  is  necessary  that  brass  wire  be  employed,  and  not  iron,  for 


Fig.  i. 


Fig.  2. 


HERR  J.  a  SCHAARWACHTER. 


229 


the  latter  rusts,  and  then  loses  its  smoothness ;  and  unless  the 
wires  are  smooth,  the  curtain  rings  will  not  run  upon  them  with 
ease  and  facility,  for,  as  we  have  said,  the  curtains  are  quite 
loose  and  baggy.    Here  is  a  transverse  section  of  the  roof  (fig.  3), 


Mg.  3. 

showing  how  the  wires  are  fitted,  and  how  the  curtains  are 
arranged,  a,  a,  a,  a,  are  sections  of  wires,  and  5,  b,  b,  the 
curtains,  which  are  so  hung  as  to  overlap  one  another.  Herr 
Schaarwachter  simply  uses  a  light  bamboo  pole  to  manipulate 
his  curtains.  He  pushes  the  curtains  away  at  this  part  of  the 
roof,  or  makes  them  cover  that  part.  The  rings  on  the  stretched 
brass  wire  move  with  exceeding  facility,  and  a  more  simple  plan 
of  manipulating  curtains  to  effect  light  and  shade  cannot  be 
conceived.  "  One  of  its  advantages  is  that  it  never  gets  out  of 
order,' '  says  Herr  Schaarwachter,  moving  the  blinds  backwards 
and  forwards  with  his  pole,  to  show  how  easily  they  work. 

The  backgrounds,  of  which  half-a-dozen  hang  one  behind 
another,  are  drawn  out  for  use  with  the  same  ease.  The  bottom 
of  the  background  does  not  touch  the  floor,  for  the  screen  is 
suspended  from  above  ;  the  top  is  attached  to  two  reels,  which 
run  upon  a  stout  wire,  and  may  thus  be  brought  out  at  the  back 
of  the  sitter,  or  pushed  in  again,  with  a  motion  of  the  hand  (see 
fig.  4).  A  light  and  narrow  skirting  board  is  put  down  to  cover 
the  small  space  between  floor  and  background,  or,  if  it  is  an  out- 
door scene,  the  join  is  covered  by  a  fringe  of  grass,  or  something 
of  the  sort,  attached  to  a  suitable  foreground.  The  stretched 
backgrounds  move  out  and  in  so  easily,  that  it  is  no  trouble  at 
all  to  change  them.  Most  of  the  backgrounds  are  Scavey's,  but 
one  of  home  manufacture,  representing  a  piece  of  faded  tapestry, 
is  marvellously  good.    Its  subject  was  not  only  in  keeping  with 


230 


STUDIOS  IN  PRUSSIA. 


many  portraits  we  saw,  but  its  faded,  neutral  aspect  afforded  a 
striking  contrast  to  the  vigour  and  modelling  of  the  sitter.  The 
studio  is  protected  from  direct  sunlight  on  the  outside  by  an 
upright  canvas  screen  about  ten  feet  high.  "But  I  always 
remove  it  in  the  winter  time/ '  says  Herr  Schaarwachter. 


Fig.  4. 

"We  walk  into  the  laboratory.  During  the  past  winter  Herr 
Schaarwachter  employed  nothing  but  gelatine  plates  with  oxalate 
development ;  but  for  summer  work  he  still  prefers  wet  collodion, 
except  for  children.  Here  is  an  assistant  washing  plates  and 
albumenizing  them ;  each  sheet  of  glass  is  held  under  the  tap, 
rubbed  rapidly  with  a  rag,  rinsed  again,  and  then  albumenized, 
the  solution  being  poured  first  upon  one  angle  of  the  plate  and 
drained,  and  then  applied  a  second  time  from  the  opposite  angle. 
Two  whites  of  eggs  beaten  up  and  mixed  with  8  lb.  of  water, 
to  which  a  few  drops  of  ammonia  are  added,  serves  for  the  pre- 
liminary coating  of  the  plates. 

"But  I  do  not  give  up  gelatine  plates  altogether  in  summer," 
says  Herr  Schaarwachter,  leading  us  into  his  enlarging-room. 
"All  my  diapositives  are  made  with  gelatino-bromide.  A  collo- 
dion positive  is  not  only  not  so  delicate,  but  it  frequently  exhibits 
a  halo  round  the  blacks,  which  gelatine  never  shows.  Moreover, 
as  enlargements  all  tend  to  hardness,  while  gelatine  invariably 
tends  to  softness,  the  latter  is  a  good  counterpoise." 

Herr  Schaarwachter,  however,  although  he  produces  small 
diapositives,  does  not  make  them  in  the  ordinary  way  by  placing 
negative  and  gelatine  plate  in  contact  in  a  printing-frame.  He 
thinks  you  cannot  control  the  exposure  so  well.    He  prefers 


HERR  J.  C.  SCHAARWACHTER. 


231 


making  his  transparency  with  the  gelatine  plate  in  a  camera  in 
the  same  way  as  the  enlargement  is  afterwards  made,  giving  a 
tolerably  long  exposure,  and  having  recourse  to  leisurely  develop- 
ment. A  more  satisfactory  transparency  is  thus  secured,  he 
contends,  for  enlarging  purposes,  where  it  is  very  important 
that  the  utmost  uniformity  should  exist.  Herr  Schaarwachter 
employs  an  enlarging  apartment  very  similar  to  that  we  have 
described  at  Messrs.  Window  and  Grove,  and  elsewhere.  He  is 
wise  enough  also  to  use  a  horizontal  bath,  swinging  on  a  pivot, 
for  sensitizing  plates,  which  permits  of  the  draining  of  the  plate 
so  thoroughly ;  indeed,  on  the  score  of  economy,  little  waste  of 
solution,  and  cleanliness,  this  (so-called)  Burton  bath  is 
exceedingly  effective. 

The  printing-room  is  an  apartment  fitted  on  one  side  with 
glass,  towards  which  the  printing-frames  are  turned.  The 
frames  are  in  tiers  upon  tall  sloping  stands,  that  much  resemble 
flower-stands.  The  glass  is  not  shaded,  but,  in  case  the  light  is 
too  strong,  the  stands  are  simply  moved  back — they  are  on  a  sort 
of  tramway- — two  or  three  feet,  according  to  the  judgment  of 
the  printer.  The  printing  is  said  to  proceed  more  rapidly  than 
when  a  screen  of  tissue  paper  or  dull  glass  is  employed. 

Herr  Schaarwachter  packs  every  negative  in  paper,  putting 
half  a  hundred  together  in  one  pigeon-hole.  Each  negative  is 
simply  numbered  consecutively,  and  a  ledger  describes  them.  If 
a  negative  is  too  large  for  the  pigeon-hole,  the  searcher  for  it 
finds  a  piece  of  cardboard  in  place  of  the  plate,  and  this  cardboard 
tells  the  locality  of  the  particular  cliche.  aI  shall  never  throw 
away  any  of  my  negatives.  I  was  thinking  only  the  other  day 
of  clearing  out  the  bottom  row  of  old  cliches,  when  I  received 
an  order  for  forty  thalers(£6)  from  two  or  three  of  the  portraits. 
As  that  sum  represents  a  hundredweight  or  so  of  glass,  I  can 
look  upon  this  old  part  of  my  stock  as  paid  for." 

Herr  Schaarwachter  had  but  just  returned  from  a  holiday  on 
the  shores  of  the  North  Sea,  and  he  was  good  enough  to  show 
us  a  practical  little  outfit,  made  by  a  well-known  hand  (Stege- 
mann,  of  Berlin),  that  had  served  him  to  bring  back  some 
reminiscences  of  his  stay.  To  a  spirit  level  upon  his  tourist 
camera  he  attached  considerable  importance,  for  he  found  it  one 
of  the  readiest  means  of  levelling  his  camera,  a  point  of  some 
importance  with  tourists,  whose  small  pictures  have  sometimes 
to  be  trimmed  rather  considerably  to  make  them  square.  A 


232 


STUDIOS  IN  PRUSSIA. 


changing-box  by  Stegemaim,  to  hold  a  dozen  plates,  Herr 
Schaarwiichter  also  pronounced  to  be  very  practical. 

Just  now  Herr  Schaarwiichter  is  making  a  speciality  of  the 
Boudoir  portrait ;  a  single  example  of  this  is  delivered  to  the 
customer  for  fifteen  marks  or  fifteen  shillings.  If  he  desires 
more  afterwards,  he  may  have  a  dozen  for  eighty  marks. 


HERR  TH.  PRUMM,  UNTER  DEN  LINDEN,  BERLIN. 

Unter  den  Linden !  We  have  a  grievance,  and  Ave  mean  to  set 
it  down  here.  It  concerns  the  Linden  or  Limctrec  Avenue  that 
give  their  name  to  the  most  famous  thoroughfare  in  Berlin — nay, 
in  the  whole  Fatherland.  Ten  years  ago  we  paced  the  flags  of 
the  capital  under  the  same  sense  of  injury,  and  to-day  the  trees 
appear  even  smaller  and  slighter  than  they  did  then.  Only 
fancy  a  wizen  plantation  of  pigmy  trees  with  stems  that  you 
might  clasp  almost  with  your  hands,  and  not  an  offshoot  that  is 
worthy  of  the  name  branch,  after  you  have  been  dreaming  of  a 
mighty  avenue  with  shadowy  over-spreading  foliage,  lofty  tops 
reaching  to  the  sky,  and  massive  translucent  greenery  redolent 
with  the  sweet  perfume  of  the  lime  blossom  !  All  this  and  more 
does  the  name  "  Unter  den  Linden  "  call  up  in  the  traveller's 
mind  ;  he  fancies  himself  walking  under  shadow  of  big  green 
boughs  where  the  glaring  sun  and  blinding  white  dust  cannot 
reach  him,  where  comfortable  seats  offer  cool  repose,  and  where 
he  may  find  a  soothing  retreat  after  the  busy  turbulent  streets 
of  the  metropolis.  Yisions  of  lofty  limes  he  has  seen  elsewhere 
haunt  his  memory,  and  he  hopes  for  something  that  shall  com- 
bine the  sylvan  attractions  of  Hyde  Park  with  the  brightness 
and  sparkle  of  the  Boulevart  des  Italiens.  Alas !  when  he  looks 
upon  the  reality,  he  finds  that  the  only  thing  romantic  about 
Unter  den  Linden  is  its  name,  and  that  the  gieen  glades  and 
arcadian  paradise  exist  only  in  his  imagination. 

"We  must,  however,  be  fair  in  our  criticism.  Having  now 
aired  our  grievance,  it  behoves  us  to  admit  that  it  is  the  name, 
and  the  name  only,  that  causes  disappointment.  Unter  den 
Lirden,  from  the  famous  Brandenburger  Thor  to  the  Palace  of 
the  Emperor,  is  a  magnificent  thoroughfare,  and  well  worthy 
of  its  capital.    There  are  fine  public  buildings  and  bright  shops 


HERR  TH.  PRUMM. 


233 


throughout  its  entire  length,  and  as  a  fashionable  promenade  it 
takes  rank  with  the  chosen  spots  of  Paris  and  London  which  we 
have  just  named.  In  one  of  the  best  positions  in  Unter  den 
Xinden  we  find  Herr  Priimm's  studio,  and  as  it  is  one  of  the 
two  leading  establishments  we  have  selected  to  visit,  in  order  to 
give  our  readers  an  insight  into  the  studios  of  Berlin,  we  make  our 
call,  and  are  fortunate  enough  to  find  the  principal  "  at  home." 

In  Berlin,  the  high  class  studios  differ  slightly  from  those 
elsewhere.  There  is  no  reception  room,  in  the  way  in  which  we 
usually  understand  the  word.  There  is  rather  a  counting-house, 
fitted  with  elegance  and  taste,  and  one  or  more  waiting  rooms, 
also  well-appointed,  but  notjmaking  the  same  display  of  speci- 
mens as  is  usual  with  us.  The  difference  is  very  slight,  but 
still  there  is  the  difference  ;  the  customer  usually  comes  to  some 
understanding  in  the  ante-room,  or  comptoir,  as  to  the  nature  of 
his  wants  before  entering  the  waiting  room. 

Below,  and  also  on  entering  the  studio,  a  printed  notice 
informs  visitors  that  the  studio  is  open  from  nine  to  six,  and  from 
nine  to  two  for  taking  of  portraits.  The  same  arrangement — not 
to  take  portraits  after  two — we  noticed  in  other  establishments  ; 
and  although  the  photographer  has  at  times  to  go  beyond  the  rule, 
the  regulation  is  a  very  good  one  for  two  reasons ;  in  the  first 
place,  work  is  not  carried  on  after  the  best  of  the  light  has  gone ; 
and  secondly,  the  photographer  is  released  after  a  sufficient 
spell  of  labour.  The  public,  too,  are  taught  to  come  betimes, 
and  thus  a  good  deal  of  hurry  and  haste  is  avoided. 

To  Herr  Priimm  we  have  much  to  be  thankful  for.  It  seems  to 
strike  very  few,  that  journalists  are  sometimes  busy  men,  and  that 
their  time  is  valuable.  In  our  own  case,  and  especially  when  we 
have  travelled  some  hundreds  of  miles  to  pay  a  visit  (t  at  home," 
there  is  often  but  a  certain  narrow  and  fixed  limit  of  time  in 
which  to  make  a  call ;  and  yet  our  friends  apparently  conceive 
a  notion,  at  times,  that  we  are  going  to  settle  down  among  them, 
and  that  whether  we  delay  our  visit  till  next  day  or  the  day 
; after,  is  immaterial.  Herr  Priimm  was  very  good  in  this  respect. 
He  bade  us  welcome  at  once  ;  he  was  actually  guilty  of  keeping 
a  sitter  waiting  some  minutes  in  order  that  his  reception  might 
not  seem  to  lack  warmth,  and  for  this  attention,  as  well  as  for 
his  generous  hospitality,  we  cannot  enough  thank  him.  Our 
only  hope  is  that  in  comparing  notes  in  the  theory  and  practice 
of  photography  he  may  have  benefitted  in  some  slight  degree  by 


234 


STUDIOS  IN  PRUSSIA. 


our  conversation,  as  we  believe  our  readers  will  benefit  by  our 
brief  description  of  his  compact  and  elegant  little  studio. 

Herr  Prumm's  bargain  with  the  public  is,  that  they  pay  half 
the  amount  only  of  the  order  at  the  time  it  is  booked,  and  this- 
condition  is  posted  up  in  plain  characters  in  the  studio.  It  is 
the  best  arrangement  that  could  well  be  devised.  No  doubt  to 
pay  the  whole  amount  is  wise  under  some  circumstances,  but  it 
not  unfrequently  happens  that  the  sitter  would  give  a  bigger 
order  if  it  were  not  for  the  fact  that  he  hesitates  to  disburse  a 
large  amount  at  the  outset.  Moreover,  the  half  is  a  fairer 
transaction  towards  the  public.  In  any  case,  Herr  Priimm  has 
found  out  the  advantage  of  such  payments,  and  he  proposes  to 
keep  to  it.  His  customers  are  numerous,  and  of  the  highest 
class,  and  there  is,  perhaps,  no  photographer  who  is  so  successful 
in  producing  vignetted  baby  portraits  as  our  kindly  host  in 
Berlin.  The  poses  of  the  little  sitters  are  quite  humorous  from 
their  sprightly  and  natural  character,  while  the  soft  style  of  the 
negative  and  of  the  print  are  thoroughly  in  keeping  with  the 
subject. 

"While  speaking  of  the  sketchy  harmonious  character  of  Herr 
Prumm's  vignettes,  we  may  mention  how  they  are  printed. 
"  You  will  see  how  fast  it  goes,  if  you  will  come  out  upon 
the  roof,"  says  Herr  Priimm, "  and  we  follow  him.  The  printing 
is  not  done  under  glass,  but  the  frames  are  simply  laid  upon 
upright  stands,  which  are  not  placed  in  the  shadow,  but  merely 
turned  away  from  the  sunlight.  There  is  not  that  loss  of  power 
which  is  sometimes  very  great  under  a  roof  or  in  a  sheltered 
recess,  and  the  consequence  is  that  a  dozen  prints  may  be  pro- 
duced on  a  bright  day.  Most  of  the  delicate  vignettes  have  a 
piece  of  fine  tissue  paper  laid  over  the  frame,  and  during  the 
printing  the  frame  is  occasionally  reversed,  but  otherwise  no 
particular  care  is  taken.  "  I  have  tried  many  ways  of  printing, 
but  have  always  come  back  to  this  simple  plan.  Once,  at  the 
suggestion  of  a  friend,  I  had  a  series  of  planks  nailed  to  the 
printing  stand,  so  as  to  form  recesses  for  the  frames,  and  only 
allow  parallel  rays  to  strike  them ;  but  the  result  was  to  produce 
very  hard  negatives,"  says  our  host.  In  Herr  Priimm's  establish- 
ment— as,  in  fact,  throughout  Germany — lavish  use  is  made 
of  carmine,  with  which  to  cover  the  weak  parts  of  a  negative  ; 
the  red  solution  is  simply  applied  in  patches  on  the  back  of  the 
negative,  and  thus  modifies  the  action  of  the  light. 


HERR  TH.  PRUMM, 


235 


There  is  not  a  single  painted  background  in  Herr  PriinimV 
studio.  Indeed,  there  was  only  one  practical  background  of 
any  sort  that  we  saw,  this  being  apparently  a  solid  screen  on 
castors,  one  side  of  grey  cloth  stretched  flat,  and  the  other  side 
shaped  convex,  or  alcove  form,  which  would  naturally  give  a 
darker  ground.  We  say  the  screen  was  solid,  because  it  seemed 
so ;  but  when  we  touched  it,  it  was  so  light  and  mobile,  as  to  be 
easily  moved  with  one  hand.  But  in  his  pictures,  Herr  Priimm 
usually  employs  the  end  studio  wall  as  background ;  he  uses, 
in  a  word,  a  real  wall,  properly  decorated,  of  course,  together 
with  ordinary  chairs,  tables,  and  other  furniture.  In  effect,. 
Herr  Priimm  neither  makes  use  of  background  nor  accessories 
in  the  ordinary  acceptation  of  the  term,  but  photographs  his 
sitter  as  if  the  latter  were  in  an  ordinary  room  among  ordinary 
furniture. 

The  curtaining  of  the  studio  requires  no  remark,  nor  the 
mode  of  lighting.  On  the  walls  are  some  attractive  pictures, 
one  of  them  a  humorous  sketch  by  HansHartmann — of  the  well- 
known  firm  of  Loescher  and  Petsch — who  has  done  his  best  to- 
put  sitters  in  a  good  temper  by  depicting  an  improvised  studio 
in  the  backwoods  among  the  Indians,  "Where  tatooing  is  the 
custom  and  scalping  of  every-day  occurrence,  one  naturally 
expects  apparatus  to  be  a  little  rough,  and  we  are  not  surprised,, 
therefore,  to  see  an  ochred  visaged  model,  standing  against  a 
tree,  whose  head  is  kept  firm  to  the  stem  by  the  aid  of  a  long 
corkscrew,  which,  after  piercing  the  wood,  is  made  to  enter  the 
Chickaehaw's  cranium.  With  such  an  awful  example  before 
them,  sitters  in  Herr  Priimm's  studio  are  not  likely  to  cry  out 
against  the  European  head-rest,  which,  by  good  fortune,  has 
fallen  to  their  lot,  instead  of  the  primitive  apparatus  of  the 
prairies. 

A  simple  head-screen  deserves  mention.  It  is  merely  (see  fig., 
p.  236)  around  diaphram,  about  two  feet  in  diameter,  of  violet 
gauze,  which  casts  a  shadow  about  the  head  of  the  sitter  with- 
out cutting  off  much  light.  The  screen  does  not  darken  the  tint 
of  the  hair,  while  it  casts  sufficient  shade  over  the  parting  or 
premature  baldness  to  prevent  these  being  exaggerated  in  the 
photograph.    The  screen  stands  scarcely  six  feet  high. 

"This  series  of  prints  on  the  wall  are  all  taken  on  gelatine 
plates,"  says  Herr  Priimm,  pointing  to  a  fine  collection  of 
brilliant  cabinet  pictures.    We  ask  our  host  if  he  still  uses 


236 


STUDIOS  IN  PRUSSIA. 


emulsion.  "  I  employed  nothing  else  for  five  months  during 
the  last  autumn  and  winter,  and  would  have  been  glad  enough 
to  continue.  But  there  were  two  reasons  against  it ;  in  the 
first  place,  I  could  not  get  uniform  films,  not  so  much  as  regards 


sensitiveness,  as  in  respect  to  thickness.  I  was  plagued  with  a 
lot  of  thin  films,  and  in  these  I  found  the  bromide  was  generally 
thrown  down  in  tiny  black  spots,  as  when  an  old  silver  bath  is 
used  in  the  wet  process.  In  the  second  place,  I  find  my  wet 
plates  work  fast  enough  in  summer,  and  I  have  no  occasion  for 
more  rapid  exposures.' '  Herr  Priimm  employed  oxalate  deve- 
lopment throughout,  and  was  good  enough  to  show  us  some 
plates  taken  on  a  summer  tour  in  Switzerland  and  on  the  Stelvio 
Pass,  whence  he  has  just  returned. 

To  the  matter  of  washing,  Herr  Priimm  devotes  considerable 
care.  He  makes  it  an  invariable  rule  that  each  print  shall  be 
taken  up  separately  by  the  assistant  and  washed  by  hand  in 
eight  changes  of  water,  after  which  the  picture  is  thrown  with 
others  in  running  water  for  the  night.  In  the  morning  the 
prints  are  again  separated,  and  rinsed  one  by  one  by  hand. 
"  Those  prints  of  mine  in  the  show-case  have  now  been  there  two 
or  three  years  exposed  to  all  sorts  of  weather ;  they  have  never 
once  been  tampered  with,  and  yet  there  is  not  a  trace  of  yellow- 
ness to  be  found." 

At  Herr  Priimm's  establishment  the  charge  for  a  dozen  cartes 
is  fifteen  marks  or  shillings,  while  half-a-dozen  cabinets  are 
charged  the  same,  and  these  prices  may  be  regarded  as  those  of 
all  first-class  studios  in  Berlin. 


STUDIOS    IN  AUSTRIA. 




FKITZ  LUCKAKDT  AT  THE  HOTEL  NATIONAL  IN 
VIENNA, 

u  Under  no  circumstances  whatever  can  portraits  of  little  chil^ 
dren  be  taken  !  "  So  reads  a  significant  notice  in  the  reception- 
room,  which  makes  many  a  visitor  stare ;  it  is  one  of  the  first 
subjects,  too,  on  which  we  speak,  when  Herr  Luckardt  kindly 
bids  us  welcome.  "  You  see,  I  am  not  a  baby's  photographer,7 r 
says  our  smiling  host.  "  It  requires  a  good  deal  of  natural  tact 
to  deal  with  children,  and  I  frankly  confess  I  have  not  the  proper 
attributes.  The  children's  photographer  must  possess  an  even 
temperament  and  a  contented  mind  ;  nor  must  he  be  put  out  if 
the  child  gets  eight  toes  to  its  feet  instead  of  five." 

If  we  were  asked  with  whom  of  all  our  English  photographers 
we  should  compare  Herr  Fritz  Luckardt,  our  answer  at  once 
would  be,  Mr.  II.  P.  Bobinson,  of  Tunbridge  "Wells.  There  is  a 
spirit  of  independence,  and  a  straightforward  way  of  speaking 
and  acting,  very  characteristic  in  both  gentlemen.  "We  spoke  of 
Herr  Luckardt  to  several  friends  in  Vienna  and  Berlin,  and  the 
comment  invariably  was,  "Ah  !  when  I  have  such  a  good  name, 
and  so  firmly  established  a  reputation,  as  Herr  Fritz  Luckardt, 
then  will  I,  too,  be  independent."  But  there  is  something  more 
than  independence  that  makes  up  our  friend's  character  ;  it  is  the 
independence  of  a  thorough  artist,  the  strong  will  of  a  man  who 
knows  that  he  is  right,  the  firm  assertion  of  a  master  who  is 
confident  of  his  power.  At  the  same  time,  there  never  was  one 
more  cognisant  of  his  weakness,  and  the  shortcomings  of  his  art. 
He  knows  when  success  will  reward  him,  and  when  his  labours, 
try  as  he  will,  must  necessarily  fail.  The  perfect  rendering  of 
drapery  in  Fritz  Luckardt' s  studio  is  proverbial ;  the  delicate 
folds  of  robe  or  mantle,  right  to  the  very  margin  of  the  plate,  the 
exquisite  shades  that  play  upon  the  fabric,  the  fineness  of  detail, 
while  yet  softness  and  harmony  prevail,  are  all  subjects  for 
wonder ;  and  yet  Herr  Luckardt  never  dictates  as  to  the  tint  or 
style  of  his  sitters'  dresses.  "  I  take  my  sitters  as  they  come. 
If  they  consult  me  as  to  dress,  I  tell  them  to  wear  what  they 
like  best." 


238 


STUDIOS  IN  AUSTRIA. 


"With  all  our  host's  success  in  portraiture,  he  is  not  always 
contented.  "  Sometimes  a  lady  appears  in  the  studio,  and,  before 
I  have  well  time  to  say  good  morning,  she  begins  with,  "Oh! 
Herr  Luckardt,  I  have  been  taken  by  Sehulze,  and  Schmidt,  and 
Miiller  several  times ;  and  now  I  come  to  you  to  give  me  a 
proper  picture."  Well,  if  I  am  in  a  good  humour,  I  say,  a  I  will 
do  what  I  can,  madam,  of  course  ;  but  it  seems  to  me,  if  all  these 
gentlemen  have  tried  their  best  and  failed,  that  the  fault  is  not 
theirs,  but  your  own." 

Herr  Luckardt' s  studio  is  a  low-roofed  one.  It  strikes  the 
Tisitor  at  once  as  a  broad  and  shallow  apartment.  On  the  light 
side  there  is  a  three-feet  skirting-board ;  then,  perhaps,  seven 
feet  of  glass.  The  glass  roof  slopes  but  slightly,  and,  as  its 
width  is  probably  eighteen  feet,  the  glass  room  naturally  strikes 
one  as  being  very  low  indeed.  The  entire  length  of  the  studio 
is  about  twenty-seven  feet,  of  which  seventeen  is  glass.  This 
glass  portion  of  the  roof  is  surmounted  along  the  edge  (outside 
the  studio,  of  course)  by  an  upright  metal  screen,  six  feet  high, 
which  serves  the  excellent  purpose  of  keeping  the  direct  rays  of 
the  sun  from  entering  through  the  roof  (fig.  1). 


This  sun-screen  permits  the  photographer  to  work  with  but 
few  curtains,  and  to  employ  top-light  without  fear  of  the  sun. 
Indeed,  in  Herr  Luckardt' s  studio,  most  of  the  work  is  done  by 
light  that  comes  through  the  roof.  There  are  curtains  every- 
where ;  but  use  is  rarely  made  of  them,  the  metal  shield  answers 
its  purpose  so  well.  11  Employ  as  few  screens  as  possible,"  says 
our  host ;  and  there  is  no  need  for  them,  since  the  light  is  not 
direct.  So  little  account  does  Herr  Luckardt  take  of  his  side- 
light, that  the  panes  are,  many  of  them,  covered  with  dark 


Fig.  l. 


FRITZ  LUCKHAEDT. 


239 


calico,  while  others  are  screened  with,  transparent  tracing-cloth. 
The  tracing-cloth  is  below,  and  the  more  opaque  calico  above,  so 
that  a  low  shadow  may  be  cast  if  necessary. 

"  I  put  my  model  here,"  says  Herr  Luckardt,  placing  a  chair 
not  more  than  six  feet  from  the  light  side  of  the  studio.  1 1  Then, 
as  a  rule,  I  move  my  camera  a  little  to  this  side  or  that,  until  the 
lighting  and  pose  appear  most  favourable.  It  is  so  much  easier 
to  move  the  camera  than  the  sitter."  To  secure  light  or  shadow 
about  the  dress  of  the  model,  a  movable  screen  but  five  feet  high 
is  employed,  fitted  with  both  light  and  dark  fabric,  like  dark  and 
light  blinds  that  are  made  to  pull  up  and  down.  You  may  pull 
the  dark  blind  down  over  the  light  one,  and  so  have  a  dark 
screen  ;  or  you  may  have  only  a  light  one  to  reflect  the  lower 
part  of  the  dress ;  or,  again,  you  may  have  the  screen  parti- 
coloured— the  lower  part  light  and  the  higher  part  dark,  or 
vice  versa,  A  method  of  constructing  such  a  screen  will  suggest 
itself  to  most  people,  and  its  value  is  evidenced  by  the  exquisite 
lights  and  shadows  to  be  seen  in  the  drapery  of  Fritz  Luckardt' s 
models. 

The  shadow  side  of  the  studio  is  too  far  away  from  camera  and 
sitter  to  exert  any  great  influence,  and  is  covered  with  paintings 
and  works  of  art  likely  to  interest  the  sitter.  Herr  Luckardt 
has  also  a  good  method  of  attracting  the  sitter's  attention  during 
exposure,  consisting  of  a  little  clock-work  apparatus,  with  a 
carte-de-visite  opening.  The  sitter  looks  at  the  opening,  and  is 
interested  to  see  portrait  after  portrait  come  into  view  ("  they 
are  all  of  Vienna  celebrities/ '  says  Herr  Luckardt) ;  in  this  way 
an  animated  expression  is  secured,  without  any  strain  upon  the 
sitter.  There  is  so  much  light  in  his  low-roofed  studio,  and  so 
little  of  it  is  cut  off  by  curtains  (thanks  to  the  sun-screen  outside), 
that  exposures  are  comparatively  quick,  and  Herr  Luckardt  has 
found  no  use  for  gelatine  plates.  "  I  always  take  plenty  of  time 
over  each  sitter,  you  know ;  although  one  of  these  days  my  mode 
of  working  may  alter,"  observes  our  host,  laughing,  "  and  I  shall 
have  to  take  portraits  at  express  speed ;  gelatine  plates  will  then 
be  very  handy.  My  assistant  will  cry  out  sharply  over  the 
bannister,  «  No.  45  now  sitting ;  please  send  up  Nos.  46  and 
47."' 

Herr  Luckardt  not  only  poses  and  arranges  every  sitter,  but 
does  much  of  the  technical  work  besides.  More  than  this ;  what 
he  himself  cannot  do,  he  does  not  leave  in  unskilled  hands.  His 


240 


STUDIOS  IN  AUSTRIA. 


chief  assistant  is,  perhaps,  only  second  to  himself  in  ability  and 
artistic  capacity,  and  it  says  something  for  Herr  Luckardt,  as  a 
principal,  that  his  first  lieutenant  has  remained  with  him  for 
many  years.  Talented  assistants  are  not  so  rife  that  one  can 
afford  to  part  with  them,  and  Herr  Luckardt  is  evidently  wise 
enough  to  know  when  he  is  well  served.  Only  silver  printing 
is  resorted  to  in  the  Luckardt  establishment ;  indeed,  carbon 
printing,  if  not  unknown,  seems  to  have  scarcely  a  disciple  in 
Vienna. 

Herr  Luckardt  is  very  complimentary  towards  English  sitters. 
They  are  of  a  quieter  disposition,  he  says,  and  are  more  obedient 
and  plastic.  4 '  Unfortunately,  in  your  English  faces,  the  front 
teeth  arc  apt  to  be  prominent,  and  one  has  sometimes  to  choose 
between  an  animated  face,  with  the  mouth  open,  and  a  glum 
expression,  in  which  the  teeth  are  not  shown.  Directly  I  ask 
my  English  sitter  to  close  his  lips,  his  brightness  vanishes." 
Many  of  our  readers  will  be  able  to  bear  out  what  Herr  Luckardt 
says,  but  it  is  only,  of  course,  when  the  British  face  is  contrasted 
with  those  of  other  nationalities  that  the  character  is  most 
apparent. 

Herr  Luckardt  has  something  to  say  about  the  glazing  of 
studios,  and  hopes  that  a  plan  he  has  advocated  for  some  time 
past  may  ere  long  be  universally  adopted.  The  inconvenience  of 
a  leaky  glass  roof  is  too  well  known  to  require  that  any  stress 
be  laid  upon  it,  and  it  is  Herr  Luckardt' s  opinion  that  if  glass 
plates  were  only  made  of  rhomboid  form,  and  so  laid  one  over 
another  towards  the  top  of  the  roof,  there  would  be  no  longer 
any  complaint  of  leakage  from  rain.  But  it  is  not  only  necessary 
that  the  glass  panes  for  the  roof,  fig.  1,  should  be  rhomboid  in 


• 


Fig.  2. 

shape — that  is  to  say,  not  rectangular — but  it  is  also  requisite 
that  they  be  placed  not  hori%ontally.    Therefore, ^it  is  necessary 


FRITZ  LUCKHARDT. 


241 


that  the  iron  rods  upon  which  they  are  made  fast  should  be  cast 
or  rolled  in  such  a  way  that  the  pane  of  glass  rests  a  little  higher 
on  one  side  than  the  other ;  the  drops  of  moisture  or  rain  will 
then,  as  they  collect,  run  down  from  one  edge  to  the  other.  At 
present,  the  usual  plan  is  to  place  the  panes  of  glass  (c)  as  in 
fig.  3,  in  a  horizontal  position,  and  the  iron  rods  (a  a)  also  on  a 


tig.  3. 


level,  while  the  fastenings  (J  J)  are  likewise  the  same  one  side 
as  the  other.  witim* 
If,  however,  Herr  Luckardt  says,  the  arrangement  was  that 
shown  in  fig.  4,  then  the  rain  drops  would  be  carried  off  from 


Fig.  4. 


one  pane  to  the  other  by  the  point  d.    The  rain  as  it  collected 

would  pour  from  d  into  the  channels,  which  might  easily  be  cast 

upon  the  iron  rods  at  the  time  these  are  made. 

The  varnish  Herr  Luckardt  employs  for  retouching  is  a  little 

different  to  that  generally  employed,  and  is  compounded  of  the 

following  ingredients,  viz. — 

Alcohol   300  parts 

Sandarac   50  ,, 

Camphor    5  ,, 

Castor  oil   10  ., 

Venetian  turpentine   «     5  ,, 


242 


STUDIOS  IN  AUSTRIA. 


DR.  J.  M.  EDER  AT  THE  IMPERIAL  TECHNICAL 
ACADEMY  IN  VIENNA. 

A  massive,  square-built  pile  is  the  Technical  Academy.  It  is  a 
btone  building,  erected  at  the  beginning  of  the  present  century, 
and  situated  in  the  city  itself.  There  is  a  statue  of  Ressel  in 
front,  the  discoverer  of  the  screw  steam-ship,  according  to 
Austrian  authorities ;  but  there  is  no  pretension  to  ornament 
outside  or  in.  The  only  sense,  as  you  enter,  is  that  of  bewilder- 
ment, standing  in  the  wide  vestibule,  and  gazing  at  the  multitude 
of  doors  that  lead  to  innumerable  class-rooms.  Nobody  heeds 
you  ;  all  who  like,  apparently,  are  welcome  to  come  in,  and,  so 
we  afterwards  learn,  there  is  actually  no  fee  demanded  from 
those  who  desire  to  attend  Dr.  Eder's  lectures  on  photographic 
chemistry.  We  enlist  the  services  of  a  guide,  and  pass  from  one 
cold  passage  to  another  ;  presently  the  pungent  odour  of  chemicals 
is  wafted  on  the  air,  and  in  another  moment  we  enter  Dr.  Eder's 
laboratory. 

We  take  his  portrait  as  best  we  can  without  camera  and 
gelatine  plates.  A  tall,  sprightly  figure,  sparely  built ;  he  wears 
a  slight  beard  and  moustache,  quite  black,  and  has  dark  piercing 
eyes,  that  glitter  the  more,  possibly,  because  of  his  spectacles. 
Still  young,  he  has  the  exuberance  of  a  boy,  and  the  elan 
of  a  Parisian  student.  His  exhaustive  researches,  instead  of 
telling  on  his  nature,  appear  only  to  have  increased  his  thirst  for 
investigation,  and  before  a  quarter-of-an-hour  has  elapsed,  we 
have  rapidly  reviewed  the  most  prominent  problems  of  the  day, 
not  forgetting  the  gelatino-chloride  process,  which  has  of  late 
taken  up  so  much  of  his  time,  and  that  of  his  brother-in-law, 
Captain  Pizzighelli. 

We  ask  about  bis  present  work  ;  if  he  is  busy  just  now  ?  Our 
friend  shrugs  his  shoulders,  and  glances  round  the  laboratory. 
Then  he  looks  at  us  with  his  arms  akimbo,  and  laughs.  There 
are  some  half-a-dozen  experiments  going  on  in  the  laboratory  at 
this  moment,  touching  oxalate  development,  consistency  of  gela- 
tine, and  the  treatment  of  gelatino-chloride. 

"  These  experiments  here,"  says  Dr.  Eder,  "  have  reference 
to  the  double  salt  formed  by  iodide  of  mercury  and  hyposulphite 
of  soda,  as  it  occurs  in  Edwards'  intensifier.  It  is  a  new  double 
*aitt,  and  I  want  to  find  out  something  about  it.    The  Edwards' 


DR.  J.  M.  EDER. 


243 


intensifier  is  decidedly  sensitive  to  light ;  in  the  dark,  after  a 
few  days,  a  yellow  precipitate  falls,  which,  for  the  most  part, 
consists  of  sub-iodide  of  mercury ;  while  in  daylight  a  dark  pre- 
cipitate forms,  and  there  is  a  larger  quantity  of  it.  I  want  to 
get  at  the  true  cause  of  this,"  says  our  energetic  chemist. 

Dr.  Eder  moves  on  to  another  part  of  the  laboratory.  "  I  am 
doing  something  here,  as  you  may  see,  with  iron  salts.  By 
the  decomposition  of  ferricyanide  of  potassium  in  light  (red 
prussiate  of  potash),  f erro-cyanide  is,  of  course,  formed ;  but,  at 
the  same  time,  another  Hue  product  results,  which  has  never 
yet  been  properly  investigated.  So  I  am  going  to  try  what  I 
can  do  in  the  matter." 

There  are  other  investigations  to  which  the  versatile  chemist 
briefly  refers,  touching  the  behaviour  of  aqueous  solutions  of 
chlorine,  bromine,  and  iodine  in  light  in  the  presence  of  organic 
bodies.  "These  experiments,  I  am  glad  to  say,  I  am  just 
finishing,"  adds  the  doctor  blithely. 

Eeturning  to  the  Technical  Academy  itself,  we  ask  Dr.  Eder 
for  information  about  his  lectures.  These,  it  appears,  are  held 
during  the  winter  half-year  only,  and  they  take  place  in  the 
evening  from  five  to  six,  so  that  photographers,  their  assistants, 
and,  indeed,  any  one  who  has  occupation  during  the  day,  can 
attend.  Every  Thursday  and  Friday,  at  this  hour,  some  thirty 
students  attend  in  the  class-room,  where  Dr.  Eder  holds  forth, 
there  being,  as  we  have  said,  no  fee  to  pay  so  long  as  certain 
conditions  are  complied  with. 

The  audience  is  a  singular  one,  says  the  doctor.  Some  of 
them  are  university  students,  who  attend  the  course  of  lectures 
as  a  branch  of  chemistry  and  physics,  and  on  whose  account  it 
is  necessary  to  go  systematically  into  photography  in  all  its 
scientific  bearings ;  another  portion  are,  on  the  other  hand, 
practical  men  and  working  photographers,  who  come  for  technical 
knowledge,  and  live  in  hopes  of  hearing  of  some  universal 
formula  by  which,  notwithstanding  clumsy  development  and 
blundering  manipulation,  they  may  still  be  able  to  produce 
beautiful  pietures;  finally,  there  are  young  assistants,  whose 
principals  take  care  that  they  shall  be  well  grounded  in  the 
tiieory  of  their  work. 

Under  these  circumstances,  Dr.  Eder  has  rather  a  difficult 
task  to  perform.  He  must,  perforce,  touch  upon  purely  chemieal 
points,  as  weil  as  those  of  a  thoroughly  practical  character ; 


244 


STUDIOS  IN  AUSTRIA. 


otherwise,  he  naturally  enough  loses  a  portion  of  his  audi- 
ence. 

"To  do  this,"  continues  the  doctor,  in  quick,  earnest  chat, 
"  I  change  my  plan  of  lecturing  year  and  year  about.  One 
season  I  begin  with  photo-chemistry  (that  is  to  say,  I  treat  of 
oxidation  in  light,  of  chlorine  and  hydrogen,  &c),  and  then  discuss 
the  silver  salts  and  optics  at  the  end  of  my  course;  the  next  year 
I  begin  my  lectures  by  treating  of  optics,  and  then  take  the 
salts  of  silver,  &c.  But  I  always  lay  great  stress  upon  iron, 
uranium,  chlorine,  &c,  because  I  find  I  can  teach  the  essence  of 
photo-chemistry  much  better  through  them  than  through  the  silver 
salts."  In  a  word,  Dr.  Eder  considers  that  the  reactions  of  the 
above-named  elements  are  more  easy  of  comprehension  by  the 
students,  and  when  the  lecturer  has  instilled  a  knowledge  of  their 
behaviour,  the  rather  complicated  changes  that  silver  salts  undergo 
when  acted  upon  by  light,  and  by  developing  and  fixing  solutions, 
are  more  readily  grasped. 

Here  are  the  gelatino- chloride  transparencies  which  were 
exhibited  by  Dr.  Eder  and  Captain  Pizzighelli.  They  are  a 
magnificent  series.  All  are  portraits,  and  nearly  all  from  one 
and  the  same  negative — a  charming  bust  picture  of  a  Viennese 
beauty.  They  appear  more  brilliant  than  carbon  transparencies, 
and,  by  reason  of  their  varied  tone,  they  are  to  be  preferred  to 
ordinary  silver  impressions  with  collodion  or  albumen.  Of  the 
thirty  or  more  in  the  series,  no  two  are  alike.  The  darker  tones, 
the  doctor  tells  us,  are  all  produced  with  ammonio-chloride  of  silver 
and  citrate  of  iron,  or  citrate  of  iron  and  gallic  acid.  These  are 
decidedly  the  most  elegant  transparencies,  especially  when  toned 
with  gold,  to  wit :  a  bath  of  chloride  of  gold,  hyposulphite,  and 
sulpho-cyanide  of  ammonium.  The  yellow-brown  tones  and 
crimson  tints,  some  of  which  are  delightful  in  their  warm  glow, 
are  produced  with  silver  chloride  alone,  or  with  hydrochinone. 
By  ringing  the  changes  on  the  developers,  the  most  delightful 
shades  are  apparently  to  be  secured,  and  the  series  show  that 
Dr.  Eder  and  his  clever  coadjutor  have  taken  gelatino-chloride 
out  of  the  domain  of  experiment,  and  made  a  practical  process  of  it. 

It  may  be  supposed  that,  with  these  investigations  on  hand, 
the  worthy  doctor's  time  is  fully  occupied.  Hot  so,  how- 
ever. "When  test-tube  and  beaker  are  out  of  his  hands,  he  must 
needs  drive  a  quill,  and  to  some  purpose,  too.  Ho  sooner  had 
he  finished  "  Modern  Dry  Plates,"  than  he  began  a  work  of 


MESSRS.  WINTER  BROTHERS. 


245 


much  larger  dimensions.  His  object  is  to  write  a  complete  manual 
of  photography — a  work  that  will  fill,  according  to  his  present 
calculation,  some  500  to  600  pages.  He  proposes  to  make  it  a 
history  of  the  art,  and  to  include  both  the  high-ways  and  bye- 
ways  of  photography  ;  that  is  to  say,  treat  of  experiments  and 
processes  which  so  far  may  have  led  to  no  practical  results,  but 
of  which  a  record  is  almost  as  desirable  as  the  every-day  methods 
in  general  use.  Dr.  Eder,  in  a  word,  designs  to  write  a  book 
like  Hunt's — a  comprehensive  treatise  on  photography,  which 
shall  be  a  history  as  well  as  a  book  for  the  student.  Of  this 
work,  the  two  first  parts  have  now  been  published  by  Knapp, 
of  Halle,  Germany. 


MESSES.  WINTER  BROTHERS  IN  VIENNA. 
Enlargements  upon  Canvas. 

"We  had  seen  so  much  second-class  work  in  the  nature  of  photo- 
graphic enlargements  upon  canvas,  that  we  did  not  feel  at  all 
enthusiastic  when  our  friend  Dr.  Eder  proposed  a  visit  to  Messrs. 
"Winter's  establishment.  We  suppose  something  of  the  sort  must 
have  appeared  in  our  face,  for  he  added,  "  Well,  do  me  the 
pleasure  to  come,  at  any  rate ;  if  you  are  not  delighted,  you  shall 
denounce  me  as  I  deserve."    We  went,  and  we  were  delighted. 

Their  working  establishment  was  in  full  swing  at  the  time  of 
our  visit,  and  Messrs.  Winter  unreservedly  conducted  us  through 
every  portion  of  it.  On  the  upper  floors,  in  half  a  dozen  different 
rooms,  were  artists  engaged  upon  painting  the  canvases ;  upon 
their  skill  it  is  not  necessary  here  to  dwell,  for  in  Messrs.  Winter's 
establishment,  as  everywhere  else,  you  can  engage  good  artists 
if  you  will  only  pay  them.  Our  business  is  strictly  with  the 
photographic  portion  of  the  work,  and  to  a  description  of  this 
we  shall  confine  ourselves. 

Imprimis,  however,  we  must  describe  what  it  is  Messrs. 
"Winter  set  themselves  to  do.  It  is  this.  They  say  to  photo- 
graphers in  general :  If  you  will  send  us  a  portrait,  either  nega- 
tive or  positive,  we  will  produce  you  an  enlargement  on  canvas 
worked  up  in  monochrome.  The  success  of  their  undertaking 
lies  in  the  circumstance  that  they  do  not  produce  coloured  work 
— or,  at  any  rate,  it  is  exceptional  on  their  part  to  do  so — but 


246 


STUDIOS  IN  AUSTRIA. 


devote  their  efforts  to  the  production  of  an  artistic  portrait  in 
brown  or  sepia.  In  this  way  they  can  make  full  use  of  the  dark 
brown  photograph  itself ;  there  is  less  necessity  for  tampering 
with  the  enlarged  image,  and  natural  blemishes  in  the  model 
itself  may  be  softened  and  modified,  without  interfering  much 
with  the  true  lines  of  face  and  features.  The  monotone  enlarge- 
ments of  Messrs.  Winter,  again,  exquisitely  as  most  of  them  are 
finished,  do  not  appear  to  provoke  the  opposition  of  the  painter ; 
they  do  not  cross  his  path,  and  hence  he  is  more  willing  to  do 
them  justice.  Many  a  would-be  purchaser  has  been  frightened 
out  of  his  intention  to  buy  an  enlargement  by  the  scornful 
utterance  of  an  artist  friend  about  "  painted  photographs,' 1  and 
in  these  days  of  cheap  club  portraits  there  is  certainly  much  risk 
of  good  work  falling  into  disrepute.  But  a  well-finished  portrait 
in  monotone  disarms  the  painter,  and  he  is  willing  to  concede  that 
the  picture  has  merit. 

"  We  cannot  use  English  canvas,  or i  shirting/  as  you  call  it," 
said  one  of  our  hosts ;  "  it  seems  to  contain  so  much  fatty  matter." 
The  German  material,  on  the  other  hand,  would  appear  to  be  fit 
for  photography  as  soon  as  it  has  been  thoroughly  worked  in  hot 
water  and  rinsed.  Here,  in  this  apartment  paved  with  red  brick, 
we  see  several  pieces  of  canvas  drying.  It  is  a  large  room,  very 
clean,  here  and  there  a  washing  trough,  and  in  one  corner  two 
or  three  large  horizontal  baths.  The  appearance  is  that  of  a 
wash-house,  except  that  all  the  assistants  are  men,  and  not 
washerwomen ;  there  is  plenty  of  water  everywhere,  and  the 
floor  is  well  drained  to  allow  of  its  running  off.  We  are  to  be 
favoured  with  a  sight  of  the  whole  process,  and  this  is  the  first 
operation. 

Into  one  of  the  horizontal  baths,  measuring  about  5  by  4  feet, 
is  put  the  salting  solution.  It  is  a  bath  that  can  be  rocked,  or 
inclined  in  any  direction,  for  its  centre  rests  upon  a  ball-and-socket 
joint.  It  is  of  papier  mache,  the  inside  covered  with  white 
enamel.  Formerly,  only  bromine  salts  were  employed,  but  now 
the  following  formula  is  adopted : 

Bromide  of  potassium  .. .       ...       ...  3  parts 

Iodide  of  potassium   ...        ...       ...  1  part 

Bromide  of  cadmium  ...       ...       ...  1  part 

Water   240  parts 

Four  assistants  are  required  in  the  operation,  and  the  same 


MESSRS.  WINTER  BROTHERS. 


247 


number  when  it  comes  to  sensitizing  and  developing,  all  of  which 
processes  are  commenced  in  the  same  way.  The  bath  is  tilted 
so  that  the  liquid  collects  at  one  end,  and  near  this  end  two 
assistants  hold  across  the  bath  a  stout  glass  rod  ;  then  the  canvas 
is  dipped  into  the  liquid,  and  drawn  out  by  two  other  assistants 
over  the  glass  rod.  In  this  way  the  canvas  is  thoroughly  saturated, 
and,  at  the  same  time,  drained  of  superfluous  liquid. 

The  canvas  is  hung  up  to  dry ;  but  as  some  time  must  elapse 
before  this  particular  piece  will  be  ready  for  sensitizing,  we  pro- 
ceed with  another  canvas  which  is  fit  and  proper  for  that  process. 
The  room,  we  should  have  mentioned,  is  provided  with  windows 
of  yellow  glass  ;  but  as  there  is  plenty  of  light  nevertheless,  the 
fact  hardly  strikes  one  on  entering.  The  sensitizing,  with  a 
solution  of  nitrate  of  silver,  is  conducted  with  a  glass  rod  in  the 
same  way  as  before,  the  solution  being  thus  compounded  : 

Nitrate  of  silver    ...     4  parts 

Citric  acid       ...       ...       ...       ...      1  part 

Water  ...       ...       ...       ...  140  parts 

Again  the  canvas  is  dried,  and  then  comes  its  exposure. 

This  is  done  in  a  room  adjoining.  We  lift  a  curtain  and  enter 
a  space  that  reminds  one  of  the  underground  regions  of  a  theatre. 
There  are  curtained  partitions  and  wooden  structures  on  every 
hand,  dark  murky  corners  combined  with  brilliant  illumination. 
Messrs.  "Winter  use  the  electric  light  for  enlarging,  a  lamp  of 


a,  electric  light ;  3,  condensers ;  c,  cameras  ;  d,  canvas  on  screen ;  e,  tram- 
ways ;  /,  curtained  partitions. 

Siemens  driven  by  a  six-horse  power  engine.  The  lamp  is 
outside  the  enlarging  room,  and  three  large  lenses,  or  condensers, 
on  three  sides  of  the  light,  permit  the  making  of  three  enlarge- 


248 


STUDIOS  IN  AUSTPwIA. 


ments  at  one  end  at  the  same  time.  Our  rough  sketch  gives  an 
idea  of  the  dispositionjof  affairs  (see  fig.,  p.  247). 

The  condenser  collects  the  rays,  and  these  shine  into  a  camera 
arrangement  in  which  the  small  negative  is  contained.  The 
enlarged  image  is  then  projected,  magic  lantern  fashion,  upon  the 
screen,  to  which  is  fastened  the  sensitized  canvas.  The  screen 
in  question  is  upon  a  tramway — there  are  three  tramways  and 
three  screens  in  all,  as  shown  in  our  sketch — and  for  this  reason 
it  is  easy  to  advance  and  retire  the  canvas  for  the  purpose  of 
properly  focussing  it. 

Even  with  the  electric  light  now  employed,  it  is  necessary  to 
expose  a  considerable  time  to  secure  a  vigorous  impression.  From 
ten  minutes  to  half  an  hour  is  the  usual  period,  determined  by 
the  assistant,  whose  experienced  eye  is  the  only  guide.  We  should 
estimate  the  distance  of  the  cameras  from  the  enlarging  apparatus 
to  be  about  fourteen  or  fifteen  feet  in  the  instance  we  saw,  and 
when  the  canvas  was  taken  down,  a  distinct  outline  of  the  image 
was  visible  on  its  surface. 

By  the  way,  we  ought  to  mention  that  the  canvas  is  in  a 
decidedly  limp  state  during  these  operations.  It  has  just 
sufficient  stiffness  to  keep  smooth  on  the  screen,  and  that  is  all ; 
the  treatment  it  has  received  appears  to  have  imparted  no 
increase  of  substance  to  it.  Again  is  it  brought  into  the  red-brick 
washing  apartment,  and  again  treated  in  one  of  the  white 
enamelled  baths  as  before.  This  time  it  is  the  developer  that  is 
contained  in  the  bath,  and  the  small  limp  table-cloth — for  that  is 
what  it  looks  like — after  being  drawn  over  the  glass  rod,  is  put 
back  into  the  bath,  and  the  developing  solution  rocked  to  and  fro 
over  it.  The  whiteness  of  the  bath  lining  assists  one  in  forming 
a  judgment  of  the  image  as  it  now  gradually  develops  and  grows 
stronger.    Here  is  the  formula  of  the  developer  : — 

Pyrogallic  acid        ...       ...       ...      10  parts 

Citric  acid     ...       ...       ...       ...  45 

Water      410  „ 

The  developer — which,  it  will  be  noted,  is  very  acid — is 
warmed  before  it  is  used,  say  to  a  temperature  of  30°  to  40°  C. ; 
nevertheless,  the  development  does  not  proceed  very  quickly. 
As  we  watched,  exactly  eight  minutes  elapsed  before  Mr.  Winter 
cried  out  sharply,  "That  will  do."  Immediately  one  of  the 
assistants  seizes  the  wet  "anvas,  crumples  it  up  without  mor  e 


MESSRS.  WINTER  BROTHERS. 


249 


ado,  as  if  it  were  dirty  linen,  and  takes  it  off  to  a  wooden  wash- 
ing trough,  where  it  is  kneaded  and  washed  in  true  washer- 
woman fashion.  Water  in  plenty  is  sluiced  over  it,  and  after 
more  vigorous  manipulation  still,  it  is  passed  from  trough  to 
trough  until  deemed  sufficiently  free  from  soluble  salts  to  tone. 

The  toning — done  in  the  ordinary  way  with  gold — removes 
any  unpleasant  redness  the  picture  possesses,  and  then  follows 
the  fixing  operation  in  hyposulphite.  As  canvas  is  more  perme- 
able than  paper,  these  two  last  processes  are  quickly  got  through. 

The  final  washing  of  the  canvas  is  very  thorough.  Again  it 
is  treated  with  all  the  vigour  with  which  a  good  laundry-maid 
attacks  dirty  linen,  the  canvas,  in  the  end,  being  consigned  to  a 
regular  washing-machine,  in  which  it  is  systematically  worked 
for  some  time. 

"When  the  canvas  picture  at  last  is  finished,  it  presents  a  very 
rough  appearance,  by  reason  of  the  tiny  fibres  that  stand  erect  all 
over  the  surface.  To  lay  these,  and  also  to  improve  the  surface 
generally,  the  canvas  is  waxed  ;  the  fabric  is  stretched,  and  a 
semi-fluid  mass  rubbed  into  it,  heat  being  used  in  the  process, 
which  not  only  gives  brilliancy,  but  seems  also  to  impart  trans- 
parency to  the  shadows  of  the/  picture.  The  result  is  a  pleasant 
y.^ish,  without  vulgar  glare  or  glaze,  the  high-lights  remaining 
beautifully  pure  and  white. 

Of  course,  the  price  of  these  canvas  enlargements  varies  with 
the  amount  of  artistic  work  subsequently  put  upon  them ;  but 
the  usual  charge  made  by  Messrs.  Winter  for  a  well-finished  life* 
size  portrait,  three-quarter  length,  is  sixty  florins,  or  about  £5 
sterling  as  the  exchange  now  stands.  Besides  working  for 
photographers,  Messrs.  "Winter  are  reproducing  a  large  number 
of  classic  paintings  and  cartoons  by  photography  on  canvas  in 
this  way  (some  of  them  almost  absolutely  untouched),  and  these, 
as  may  be  supposed,  are  finding  a  very  large  sale  among  dealers. 
Such  copies  must  necessarily  be  of  considerable  value  to  artists 
and  collectors,  and  altogether  it  would  seem  that  Messrs.  Winter 
have  hit  upon  a  novel  undertaking,  which  bids  fair  to  make  them 
a  handsome  return  for  the  outlay  (large  as  it  undoubtedly  has 
been)  made  upon  their  Vienna  establishment. 


250 


STUDIOS  IN  AUSTRIA. 


THE  ATELIER  ADELE  IN  VIENNA. 

As  in  London,  so  in  Vienna,  it  is  difficult  to  say  which  studio  is 
the  very  first.  Nevertheless,  we  may  say  this  of  the  Atelier 
Adele,  it  is  second  to  none  in  the  Kaiserstadt ;  whilst  we  may 
also  remark  that  in  some  respects  it  is  the  finest  studio  we  have 
ever  visited.  In  the  first  place,  its  glass-rooms — there  are  two 
of  them — are  not  photographic  studios  at  all  in  the  ordinary 
sense,  but  brightly  fitted  salons.  They  are  light,  lofty  apart- 
ments with  elegant  panels  of  white  and  dark  wood,  fitted  with 
ornamental  mirrors  here  and  there,  with  a  flooring  of  polished 
pine,  and  ornamental  windows.  The  roof  is  of  fluted  glass, 
what  glass  there  is,  while  the  side  light  comes  through  matt 
glass  windows,  which  have  fancy  panels  figured  over  them. 
Everything  appears  as  clean,  bright,  and  new,  as  a  modern 
dining-room  or  library,  except  that  the  woodwork  is  rather  light, 
and  there  is  an  abundance  of  illumination. 

There  is  little  of  photography  in  these  elegant  glass-rooms.  A 
single  camera  is  seen,  and  not  even  one  example  of  a  fancy  back- 
ground. Two  or  three  plain  backgrounds  are  all  that  meet  the 
eye,  with  here  and  there  a  banner  screen,  made  use  of  occasion- 
ally instead  of  the  blue  blinds,  with  which  the  glass  may  at  any 
time  be  covered.  One  screen  is  exceedingly  elegant.  It  is 
simply  a  light  wooden  frame,  about  five  feet  high,  over  which 
is  negligently  thrown  two  pieces  of  gossamer  satin,  one  blue, 
the  other  white.  Either  one  reflecting  surface  or  the  other  is 
employed  near  the  sitter  as  may  be  necessary,  the  delicate  sheen 
of  the  glossy  surface,  either  white  or  pale  blue,  yielding  a  very 
soft  reflection ;  while  to  the  eye,  the  pretty  screen,  with  its 
shining  fabric  unstretched,  is  particularly  pleasing. 

Photographers  who  have  not  got  on  very  well  with  gelatine 
plates,  and  still  practise  the  wet  process,  may  take  consolation 
in  the  fact  that  the  gelatino-bromide  method  is  as  yet  unknown 
in  the  Atelier  Adele.  "  I  have  tried  dry  plates  in  my  branch 
establishment  on  the  Prater,"  says  Herr  Perlmutter,  to  whom, 
by  the  way,  this  beautiful  studio  belongs,  "  but  only  for  eques- 
trian portraits.  But  as  I  find  I  can  get  a  very  good  wet  collo- 
dion picture  in  the  open  air  with  a  second's  exposure,  I  do  not 
find  any  necessity  for  adopting  gelatine  even  there.  I  will  not 
throw  over  collodion,,,  continues  Herr  Perlmutter  emphatically, 


THE  ATELIER  ADELE. 


251 


"  until  I  see  that  vastly  superior  results  can  be  obtained  with 
something  else ;  and,  in  my  opinion,  gelatine  negatives  are  not 
superior.7 '  It  is  only  fair  to  say  that  the  Vienna  light  is  a  very 
good  light ;  the  exposure  for  a  cabinet  picture  is  never  more 
than  seventeen  or  eighteen  seconds,  and  frequently  requires  only 
twelve,  while  carte  negatives  are  taken  practically  instan- 
taneously. 

The  entrance  to  the  Adele  studio  is  very  imposing.  Viennese 


SIDE 
SALOON 


** 

SIDE 

STUDIO-* 

SALOON 

1  *~ 

photographers  have  a  way  of  locating  themselves  on  the  top  floor 
of  an  hotel — Luckardt,  it  may  be  remembered,  is  to  be  found  at 
the  top  of  the  Hotel  National — and  a  stranger  feels  rather  diffi- 
dent at  first  about  penetrating  the  depths,  or  rather  heights,  of 
a  hostelry  in  order  to  pay  a  visit  to  the  studio  above.  When, 
however,  the  summit  of  the  Hotel  Miiller  is  reached,  you  are 
adequately  repaid  for  your  trouble.  Like  the  fine  reception  room 
of  MM,  Benque  et  Cie.,  in  Paris,  the  Atelier  Adele  is  very  dark. 
There  are  no  windows  in  the  broad  corridor  by  which  you  enter, 
and  you  begin  to  think  that  they  must  have  closed  the  shutters 
by  mistake.  The  corridor  leads  into  a  central  salon,  still  rather 
gloomy,  for  the  two  windows  are  draped  with  heavy  curtains, 
and  the  furniture  and  floor  are  sombre  to  a  degree.  Everything 
is  dark.  The  paper  in  one  room  is  dark  crimson,  and  in  the 
other  dark  blue ;  here,  in  this  apartment,  the  furniture  is  ebony 
and  gold,  in  that,  dark  oak  and  gold ;  either  drab  velvet  or  dark 
satin  covers  the  chairs;  the  floor  is  of  dark  polished  wood, 
cohered  with  dusky  Turkey  rugs  ;  the  portraits  that  are  on  the 


252 


STUDIOS  IN  AUSTRIA. 


walls  are  deep  and  vigorous,  and  mounted  in  shining  black 
frames,  while  even  the  books  of  specimens  have  dark  binding. 

In  the  centre  of  the  main  salon  is  a  handsome  vase  with  green 
foliage  and  fresh  grasses,  forming  the  middle  of  a  luxurious 
settee.  Altogether,  the  apartments  are  most  richly  furnished, 
and  when  once  accustomed  to  the  subdued  light,  you  feel  a  repose 
and  quiet  in  these  cool  drawing-rooms  that  is  very  enjoyable 
after  the  hot  sunshine  and  dusty  streets  of  Vienna.  While  wait- 
ing, the  visitor  may  read  some  couplets  over  the  doors,  the  gist 
of  which  is  to  warn  him  not  to  expect  too  much  flattery  from 
the  camera.    Here  is  one  of  them  : — 

Ein  Schmeichler  ist  der  Spiegel  nicht 
Er  gibt  dir  immer  dein  wahr  Gesicht. 

The  charge  for  cabinet  portraits  is  fifteen  florins  per  dozen,  a 
florin  being  said  to  be  equal  to  two  shillings  English,  although 
it  is  not  so  much  just  now  by  threepence  or  fourpence.  Eor 
boudoir  portraits,  a  style  as  long  as  the  well-known  promenade 
or  panel,  but  twice  as  broad,  the  cost  is  thirty-six  florins  a  dozen. 

Herr  Perlmutter  is  occupying  himself  a  good  deal  with  eques- 
trian portraits,  as  we  have  hinted ;  he  finds  that  if  it  is  difficult 
to  secure  a  pleasing  picture  of  man  and  horse,  still,  in  the  event 
of  success,  it  is  a  success,  indeed — both  from  an  artistic  and  pecu- 
niary point  of  view.  In  fact,  Herr  Perlmutter  is  thinking  seri- 
ously of  invading  England,  and  coming  to  London  to  try  his  hand 
on  this  especial  branch  of  photography,  with  which,  our  readers 
will  remember,  M.  Disderi  occupied  himself  at  Brompton  many 
years  ago.  If  there  is  work  among  cavaliers  at  Yienna,  there 
must  be  ten  times  as  much  in  our  "West  End.  It  is  a  difficult 
task  making  good  equestrian  portraits,  Herr  Perlmutter  admits ; 
but  he  does  not  think  photographers  have  ever  fairly  tried  to  do 
the  work.  If  they  did,  they  could  not  fail  to  get  plenty  to  do, 
for  those  who  own  valuable  horses  are  generally  more  anxious 
to  get  pictures  of  their  property  than  of  themselves.  The  number 
of  people  who  own  valuable  horses  is  very  large,  and  they  repre- 
sent a  large  clientele  to  be  had  for  the  asking.  In  any  case, 
Herr  Perlmutter' s  heart  is  in  his  work,  and  he  frankly  says  that 
\i  ne  succeeds  in  producing  a  good  equestrian  picture,  it  gives 
him  ten  times  more  delight  than  any  photograph  secured  in  the 
studio. 

For  all  that,  Herr  Perlmutter  makes  some  charming  studies 
in  his  atelier.    Large  direct  portraits  as  big  as  those  submitted 


THE  ATELIER  ADELE. 


253 


in  the  Crawshay  Competition  are  to  be-  seen  in  the  waiting  rooms, 
for  he  prefers  securing  pictures  direct,  rather  than  enlarging,  if 
money  is  no  object.  He  works  mostly  with  Voigtlander  lenses, 
"  Have  you  no  Eoss  or  Dallmeyer  on  the  premises  ?  "  we  ask 
Herr  Perlmutter  shrugs  his  shoulders.  "  I  should  very  much 
like  to  have  an  instrument  of  Mr.  Dallmeyer,  but  I  cannot  pur- 
chase one.  There  are  none  to  be  had  ready  made.  I  must  order 
one  to  be  constructed,  and  if  I  did  that,  it  might  not  be  what  I 
wanted  when  I  got  it." 

Silver  printing,  and  no  other,  is  employed  in  the  Atelier  Adele, 
and  black  mounts  edged  with  gold  are  evidently  much  in  favour. 
The  albumenized  paper  here,  as  in  most  German  studios,  has  a 
faint  roseate  hue,  which,  while  pic  asing  in  portraits  of  small 
size,  is  also  chosen  because  of  the  idea  that  it  may  counteract 
any  yellowness  that  may  subsequently  appear  in  the  pictures. 
This,  as  it  may  be,  rosy-tinted  paper  is  a  little  out  of  place  in  a 
vigorous  masculine  portrait. 

" Do  you  retouch  much?"  Again  Herr  Perlmutter  shrugs 
his  shoulders.  "  So  far  as  ladies  are  concerned,  we  must  retouch 
a  great  deal;  otherwise  our  lady  customers  won't  have  the  pic- 
tures— that's  all."  The  matter  is  no  longer  in  the  hands  of  the 
photographer ;  retouching  is  absolute  with  the  Viennese  dames, 
and  they  require  a  great  deal  of  it.  "  We  generally  use  Faber's 
2H,"  adds  Herr  Perlmutter. 

We  pass  from  the  glass-room  into  the  laboratory,  where  plates 
are  being  fixed  and  washed,  the  day's  work  collected  on  draining 
racks  ready  to  be  varnished.  As  a  rule,  they  are  treble-plates, 
but  m  summer  time  the  thin  end  is  sometimes  not  exposed,  as 
the  third  image  in  those  circumstances  leaves  much  to  be  desired. 
They  are  all  wet  plates,  as  we  have  said,  and  their  manipulation 
presents  no  feature  of  novelty. 


HERR  LOWY  IN  VIENNA. 
The  Lichtdbttck  Pbocess  in  Detail. 

Lichtdexjck  is  German  by  name  and  German  by  nature  ;  that  is 
to  say,  it  is  among  German-speaking  people  that  the  process  is 
carried  out  to  perfection  and  upon  a  large  scale.  Munich  counts 
three  large  Lichtdruck  establishments  at  least — those  of  Herrn 


254 


STUDIOS  IN  AUSTRIA. 


Albert,  Bruckmann,  and  Obernetter ;  Vienna  has  certainly  as 
many  ;  while  in  Berlin,  Dresden,  Frankfort,  Mayence,  Hamburg, 
and  elsewhere,  first-class  Lichtdruck  firms  are  to  be  found. 

Herr  Lowy's  studio  at  Vienna  is  one  of  the  most  complete 
photographic  establishments  we  have  met  with,  since  it  combines 
the  taking  of  high- class  portrait  negatives  with  silver  and  mecha- 
nical printing.  We  should  much  like  to  describe  the  portrait- 
taking  branch  of  the  establishment,  as  well  as  the  more  industrial ; 
but,  in  the  first  place,  we  have  not  the  space  at  our  disposal ; 
and  secondly,  by  reason,  as  it  was  explained  to  us,  of  an 
"unruhiges  Erauen-zimmer  "  in  the  glass-room,  we  could  do  no 
more  than  take  a  hasty  glance  at  that  part  of  the  building.  We 
must  be  content  for  the  present  to  bear  testimony  to  the  charm- 
ing bust  portraits  of  Viennese  ladies  for  which  Herr  Lowy  has 
recently  become  well-nigh  as  famous  as  Luckardt,  and  pass  on  to 
the  Lt  chtdruck  rooms ;  for  a  full  description  of  the  process  as  it 
is  practised  at  the  present  day  cannot  fail  to  be  interesting  to 
our  readers. 

In  Herr  Lowy's  compact  establishment  there  is  a  personnel  of 
no  less  than  forty,  of  which  the  greater  number  are  employed 
upon  Lichtdruck.  There  is  both  the  Schnell-press  (quick-press) 
and  hand-press  here,  for  Herr  Lowy  dees  work  of  all  sorts,  from 
the  finest  to  the  roughest.  It  is  rather  a  warm  atmosphere  into 
which  we  are  first  introduced,  an  apartment  not  very  roomy  and 
not  very  light,  and  here  we  are  initiated  into  the  first  stage  of 
the  process. 

Here  is  a  sheet  of  glass.  It  is  "v^ry  thick,  apparently  a 
quarter  of  an-inch,  and  it  is  to  be  made  into  a  printing  block. 
The  glass  has  been  cleaned,  and  is  now  ready  to  receive  the  pre- 
liminary coating.  The  solution  must  be  used  fresh,  and  is  pre- 
pared of — 

Soluble  glass   3  parts 

White  of  egg   7  „ 

Water    9  to  10  „ 

The  soluble  glass  must  be  free  from  caustic  potash.  The  mixture 
is  filtered  and  made  use  of  the  same  day,  being  applied  to  the 
glass  as  evenly  as  possible.  The  superfluous  liquid  is  poured  off, 
and  the  film  dried  either  spontaneously,  or  by  slightly  warming. 
The  film  is  generally  dry  in  a  few  minutes,  when  it  is  rinsed  with 
water,  bearing  an  open,  porous  fcurfa-cethat  is  said  to  be  slightly 


HERR  LOWY. 


255 


opalescent.  "We  are  bound  to  say,  however,  that  this  opalescence 
is  so  slight  as  to  be  scarcely  visible  to  our  inexperienced  eyes. 

Many  of  these  plates  (the  surface  now  perfectly  dry)  are  here 
ready  for  further  treatment ;  they  stand  upon  a  slate  slab,  which 
is  warm,  for  underneath  is  a  water-bath.  Herr  Furkl,  the  skil- 
ful manager  of  this  department,  is  one  of  the  most  experienced 
of  Lichtdruck  photographers,  and  he  sees  at  a  glance  the  quality 
of  a  prepared  plate  without  any  practical  testing.  "  Now,  this  is 
a  good  preliminary  film,"  he  says ;  it  is  a  glass  that  is  trans- 
parent, and  yet  slightly  dull.  The  film  is  so  thin,  you  can 
scarcely  believe  it  is  there. 

We  now  come  to  the  second  stage  of  the  process — the  applica- 
tion of  a  film  of  bichromated  gelatine  to  the  plate.  This  is  the 
formula  generally  used : — 

Bichromate  of  potash    15  grammes 

Gelatine    ...     2 J  ounces 

Water    20  to  22  „ 

According  to  the  weather,  the  amount  of  water  is  varied ;  but, 
in  any  case,  the  solution  is  a  very  fluid  one.  An  ounce  is  about 
35  grammes,  as  our  readers  know. 

The  bichromated  gelatine  is  poured  upon  the  plate  (it  makes  a 
very  thin  film),  and  the  glass  then  put  into  the  drying-chamber. 
Much  depends  upon  the  drying.  A  water-bath  with  gas-burner 
is  used  for  heating,  and  a  slate  slab,  perfectly  level,  receives  the 
glass  plate.  The  drying-chamber  is  kept  at  an  even  temperature 
of  50°  C.  The  object  to  be  attained  is  a  fine  grain  throughout 
the  surface  of  the  gelatine,  and  unless  this  grain  is  satisfactory, 
the  finished  printing-block  never  will  be.  If  the  gelatine  film 
is  too  thick,  then  the  grain  will  be  coarse  ;  or,  again,  if  the 
temperature  in  drying  be  too  high,  there  will  be  no  grain  at  all. 
The  drying  is  complete  in  two  or  three  hours,  and  should  not 
take  longer. 

The  film  is  now  ready  for  printing  under  a  negative,  and  this 
is  done  in  an  ordinary  printing-frame.  The  sensitive  film  being 
upon  the  surface  of  a  thick  glass  plate,  it  is  necessary  that  the 
cliche  or  negative  employed  should  be  upon  patent  plate,  or  not 
upon  glass  at  all,  so  as  to  ensure  perfect  contact.  Best  of  all  is 
it  to  employ  a  stripped  negative,  in  which  case  absolute  contact 
is  ensured  in  printing.  It  is  only  in  these  circumstances  that 
the  most  perfect  impression  can  be  secured. 


256 


STUDIOS  IN  AUSTRIA. 


The  exposure  is  very  rapid.  Any  one  accustomed  to  photo- 
lithographic work  will  understand  this.  At  any  rate,  every 
photographer  knows  that  bichromated  gelatine  is  much  more 
sensitive  than  the  chloride  of  silver  he  generally  has  to  do  with. 
There  is  no  other  way  of  measuring  the  exposure  than  by  photo- 
meter or  personal  experience,  and  the  latter,  we  are  assured,  is 
by  far  the  best  method. 

The  impression  is  taken  from  the  pressure-frame,  and  put  into 
cold  water.  Here  it  remains  for  half-an-hour  or  an  hour,  accord- 
ing to  discretion.  The  purpose  is,  of  course,  to  permit  the  solu- 
ble bichromate  to  wash  out.  It  is  when  the  print  comes  out  of 
this  bath  that  judgment  is  passed  upon  it.  An  experienced  eye 
tells  at  once  what  it  is  fit  for.  If  it  is  yellow,  the  yellowness 
must  be  of  the  slightest ;  indeed,  Herr  Furkl  will  not  admit  that 
a  good  plate  is  yellow  at  all.  A  yellow  tint  means  that  it  will 
take  up  too  much  ink  when  the  roller  is  passed  over  it. 

The  washed  and  dried  plate  should  appear  like  a  design  of 
ground  and  polished  glass.  The  ground-glass  appearance  is  given 
by  the  grain.  If  there  are  pure  Lights  (almost  transparent)  and 
opalescent  shadows,  the  plate  is  a  good  one. 

We  have  now  a  printing-block  ready  for  the  press.  If  it  is  to 
be  printed  by  machinery  (that  is  to  say,  in  a  Schnell-press),  the 
surface  is  etched ;  if  it  is  to  be  more  carefully  handled  in  a  hand- 
press,  etching  is  rarely  resorted  to,  and  it  is  moistened  only  with 
glycerine  and  water. 

Here  is  a  plate  about  to  be  etched.  It  is  placed  upon  a  level- 
ling-stand,  and  the  etching  fluid  poured  upon  it.  The  formula 
is — 

Glycerine   150  parts 

Ammonia        ...       ...       ...       ...    50  ,, 

Nitrate  of  potash  (saltpetre)   5  „ 

Water  25  „ 

Another  equally  good  formula,  which  is  recommended  by 

Allgeyer,  who  managed  Herr  Albert's  Lichtdruck  printing  for 

some  years,  is — 

Glycerine   500  parts 

Water   500  „ 

Chloride  of  sodium  (common  salt)     ...    15  ,, 

In  lieu  of  common  salt,  15  parts  of  hyposulphite  of  soda  or  other 
hygroscopic  salt,  such  as  chloride  of  calcium,  may  be  employed. 


HERR  LOWY. 


257 


The  etching  fluid  is  permitted  to  remain  upon  the  image  for 
half  an  hour.  Herr  Furkl  invites  us  to  touch  the  plate,  and  by 
gently  moving  the  finger  to  and  fro  over  the  surface  we  dis- 
tinctly feel  the  swelling  or  relief  of  the  image.  The  plate  is 
not  washed  afterwards,  but  the  etching  fluid  simply  poured  off, 
so  that  the  printing  block  remains  impregnated  with  glycerine 
and  water ;  at  the  most,  a  piece  of  bibulous  paper  is  used  to 
absorb  any  superfluous  quantity  of  the  etching  fluid.  After 
etching,  the  block  goes  straight  to  the  printing  press. 

The  inking  up  and  printing  are  done  very  much  as  in  litho- 
graphy. If  it  requires  a  practised  hand  to  produce  a  good  litho- 
graphic print,  it  stands  to  reason  that  in  dealing  with  a  gelatine 
printing  block,  instead  of  a  stone,  skill  and  practice  are  more 
necessary  still.  Therefore,  at  this  point  the  photographer 
should  hand  over  the  work  to  the  lithographer,  or  rather  the 
Lichtdruck-printer.  It  is  only  by  coaxing  judiciously  with 
roller  and  sponge  that  a  good  printing  block  can  be  obtained, 
and  no  amount  of  teaching  theoretically  can  beget  a  good  printer. 
To  appreciate  how  skilful  a  printer  must  be,  it  is  only  necessary, 
indeed,  to  see  the  imperfect  proofs  that  first  result,  and  to  watch 
how  these  are  gradually  improved  by  dint  of  rolling,  rubbing, 
etching,  cleaning,  &c. 

In  all  Lichtdruck  establishments,  two  kinds  of  ink  rollers  are 
employed,  viz.,  of  leather  and  of  glue.  In  some  establishments, 
too,  they  employ  two  kinds  of  ink,  but  Herr  Lowy  manages  to 
secure  delicacy  and  vigour  at  the  same  time  in  an  impression  by 
employing  one  ink,  but  rolling  up  with  two  kinds  of  the  roller. 

Lichtdruck  prints,  and  portraits  particularly,  are  usually  var- 
nished ;  they  are  first  coated  with  a  dilute  solution  of  gelatine 
to  act  as  sizing,  and  then  a  spirit  varnish  employed.  If  the 
varnish  were  applied  before  the  print  is  sized,  the  varnish  would 
pass  through  the  paper. 

We  describe  the  Schnett-press  in  action  in  our  "  At  Home" 
with  Herr  Albert,  and  we  propose  to  say  something  about 
hand-presses  when  we  come  to  Herr  Obernetter's  well-known 
establishment  at  Munich. 


s 


258 


STUDIOS  IN  AUSTRIA. 


HERR  HOF -PHOTOGRAPH  VICTOR  ANGERER  IN  VIENNA. 

Vienna  has  long  enjoyed  a  reputation  for  brightness  and  gaiety 
among  European  capitals.  It  now  bids  fair  to  lead  the  way  by 
reason  of  the  magnificence  of  its  architecture,  the  grandeur  of 
its  public  buildings,  and  the  handsome  character  of  its  squares 
and  public  gardens.  The  Ringstrasse,  as  a  thoroughfare,  is 
likely  to  be  unique ;  the  broad  belt  of  fortified  wall  and  glacis 
which  formerly  surrounded  the  city  has  given  place  to  a  hand- 
some and  aiiy  boulevard,  with  lofty  buildings  of  white  stone, 
green  gardens,  and  verdant  avenues.  The  fortifications,  there- 
fore, if  they  did  not  stop  the  Prussian  army  twenty  years  ago, 
have  been  useful  in  peace,  if  not  in  war;  for,  had  they  not 
existed,  there  could  have  been  no  open  space  around  the  city  for 
the  construction  of  a  Ringstrasse,  and  Vienna  would  have  been 
the  poorer  by  its  finest  thoroughfare ;  while,  from  a  sanitary 
point  of  view,  it  had  been  bereft  of  a  healthy  breathing  apparatus. 
"We  doubt,  indeed,  if  ever  fortifications  were  put  to  a  better  use. 

Viennese  life  has  much  of  the  elan  of  Paris  life,  while  being 
peculiarly  its  own.  The  warmer  climate  permits  of  mo^e  out- 
door recreation,  and  consequently  cafe  and  "  Vauxhall  life  "  are 
found  in  perfection;  music  is  a  part  of  the  existence  of  a 
Viennese  citizen,  and  waltzing  is  not  an  accomplishment,  but  a 
custom.  The  busy  streets  have  a  tinge  of  Eastern  life  about 
them — Turks  from  Constantinople,  Greeks  from  the  Levant,  and 
turbaned  Armenian  Jews  are  occasionally  met.  The  Graben, 
Kohlenmarkt,  and  Karntner  Strasse  are  always  bustling  and 
lively,  the  Viennese  cab-driver  contributing  thereto  his  fair 
quota,  for  he  usually  drives  a  pair,  and,  with  the  loosest  of 
reins,  maintains  his  steeds  at  a  hand  gallop  through  the  streets, 
let  them  be  wide  or  narrow.  The  handsome  Opera  Ring  (a  bit 
of  the  Ringstrasse  where  the  Opera  is  situated)  forms  a  magni- 
ficent promenade,  and  so  does  the  Volksgarten,  which  abuts  the 
same  circular  street  a  little  farther  on.  Verily,  there  is  but  one 
Kaiserstadt  and  only  one  Ringstrasse. 

The  name  of  Angerer  has  long  been  associated  with  the  Kaiser- 
stadt.  It  was  not  Herr  Victor  Angerer,  however,  but  his 
brother,  who  first  enjoyed  the  title  of  Court-photographer.  The 
present  principal  is  one  of  the  most  genial  of  men — suave,  polite, 
and  eminently  good-natured.    He  is  a  keen  sportsman,  and  a 


VICTOR  ANGERER. 


259 


great  fisherman,  besides  being  an  accomplished  photographer. 
A  more  unpretending,  courteous  gentleman  it  has  not  been  our 
lot  to  meet. 

We  "visited  the  Angerer  studio  ten  years  ago.  Then  the  glass- 
room  was  entirely  of  blue  glass — perhaps  the  only  establishment 
that  has  ever  been  glazed  throughout  in  this  manner;  but, 
whatever  theory  may  say  as  to  the  benefits  to  be  derived  from 
such  illumination,  in  practice  white  light  has  decidedly  the 
advantage ;  the  blue-glass  studio  of  Angerer  exists  no  longer. 
The  present  glass-room  of  the  Court-photographer  is  very 
spacious  and  lofty,  and,  strange  to  say,  it  is  the  only  instance 
we  remember  of  a  studio  being  "  downstairs,"  for  thither  we 
are  at  once  invited  to  meet  our  host. 

But  though  asked  downstairs,  we  do  not  leave  the  waiting 
room  for  the  moment,  and  for  this  reason.  A  young  lady  and 
gentleman  have  just  come  from  the  studio,  and  are  now  at  the 
further  end  of  the  room  in  conversation  with  a  clerk  who  holds 
a  ledger  before  him  in  his  hands.  The  gentleman  is  arrayed  in 
a  tie  of  snowy  whiteness,  and  the  young  lady,  in  bridal  attire, 
carries  a  bouquet.  They  have  been  photographed  in  anticipation 
of  the  wedding,  and  are  a  little  flurried ;  the  lady  evidently 
thinks  the  man  with  the  book  means  marrying  them  out  of  hand, 
and  perhaps  a  passing  thought  that  she  has  been  inveigled  here 
for  the  purpose  crosses  her  mind.  In  any  case,  she  will  have 
nothing  to  do  with  the  clerk.  The  gentleman  is  equally  timid, 
and  objects  flatly  to  give  either  his  name  or  address,  under  the 
impression  that  he  is  being  taken  advantage  of.  "I  have  paid, 
and  that's  enough,"  cries  the  bridegroom.  "But,  sir,  we  must 
have  some  address  to  which  we  can  send  proofs,"  urges  the 
book-keeper.  The  customer  begins  to  see  there  is  some  force  in 
this  argument ;  but  after  a  moment's  thought  he  relapses  into 
his  fit  of  obstinacy  again.  "  No,  you  don't  want  any  address ; 
I  will  call,"  and  away  rush  the  timid  lovers. 

The  studio  where  Herr  Angerer  bids  us  welcome  is  said  to  be 
the  largest  in  Vienna.  It  measures  fifty-four  feet  in  length, 
and  at  its  highest  is  twenty-five  feet.  A  gallery  runs  along  the 
top  of  the  room,  which  then  slopes  gradually  down  to  the  glazed 
side- wall,  looking  into  a  cheerful  garden.  Indian  straw-matting 
is  hung  about  the  room,  forming  alcoves  here  and  there — under 
the  gallery — and  altogether  the  apartment  has  the  appearance 
of  a  fine  conservatory  or  palm-house.   Blue  hangings  are  to  be 


260 


STUDIOS  IN  AUSTRIA. 


seen  on  the  glass  side,  while  brown  hangings  for  the  most  part 
are  on  the  other.  For  backgrounds,  too,  Angerer  occasionally 
employs  screens  of  straw  or  cane,  such  as  are  to  be  found  in 
drawing-rooms,  and  in  this  way  he  produces  portraits  that  seem 
to  be  taken  at  home.  One  movable  screen  we  saw  was  very 
practicable,  as  it  permitted  the  lighting  up  of  the  lower  part  of 
the  sitter's  garments  most  effectually.  It  was  simply  a  stand 
with  two  movable  surfaces,  the  top  being  of  light  blue,  and  the 
bottom  of  white,  as  shown  in  our  sketch  (fig.  1).    Herr  Angerer 


Fig.  1. 

always  poses,  and  indeed  is  a  very  hard  worker  in  the  studio. 

"We  walk  out  into  the  garden.  There  is  here  a  Swiss  chalet  or 
garden-house,  with  balcony,  &c,  erected  solely  for  the  purpose 
of  taking  groups  and  out-door  pictures.  It  is  painted  a  dark  grey, 
the  best  colour,  Herr  Angerer  finds,  for  a  photographic  back- 
ground in  the  open.  But  what  our  host  desires  more  particularly 
to  show  us  is  his  enlarging  apparatus,  which  is  a  wonderful 
structure.  Imagine  a  turn-table,  as  large  as  those  to  be  seen  on 
our  lines  of  railway ;  rails  are  laid  down  in  a  circle,  and  this  big 
table  on  wheels  then  turns  on  its  axis.  The  diameter  of  this 
circular  table  is  no  less  than  38  feet.  At  one  point,  on  the 
circumference,  of  this  table  is  located  the  camera,  with  a  recess 
or  alcove  built  over  it,  and  directly  opposite,  at  the  other  margin 
of  the  table,  is  another  small  structure,  under  which  the  picture 
to  be  copied  is  placed.  Here  is  a  sketch  of  the  whole  arrange- 
ment (fig.  2).  The  camera  under  its  alcove  can  be  advanced  and 
retired  at  will  towards  the  picture.  As  both  the  camera  and 
picture  are  in  this  way  boarded  over,  no  objectionable  rays  of 


VICTOR  ANGEKER. 


261 


light  can  strike  either  one  or  the  other,  while  from  the  fact  that 
the  table  carrying  camera  and  picture  can  be  turned  in  any 
direction,  it  is  possible  to  choose  the  very  best  light  for  the 

Fig.  2. 


A  is  the  turntable,  B  is  the  pivot,  C  is  the  camera,  and  D  the  picture  to  be  copied. 

object.  The  photographer  focusses  the  picture,  and  then,  while 
still  gazing  at  it  on  the  focussing  glass,  gives  the  word  to  his 
assistants  to  revolve  the  turn-table  ;  when  the  lighting  is  at  its 
best,  he  cries  "kHalt! "  the  table  is  fixed,  and  the  exposure  is  made, 
Mo  rays  but  direct  rays  fall  upon  the  picture.  Certainly  the 
arrangement  is  very  perfect,  and  it  is  carried  out  on  a  grand  scale. 

"I  only  wish  I  could  print  faster,"  says  Herr  Angerer, 
alluding  to  his  large  negatives  of  four  and  five  feet  that  stand 
here  in  their  frames  in  deep  shadow.  Both  silver  and  carbon 
printing — the  only  place  in  Vienna  where  we  saw  carbon  printing 
— are  here  in  operation ;  but  Herr  Angerer  cannot  get  satisfactory 
results,  he  says,  unless  the  light  is  very  diffused ;  and  this  brings 
us  to  the  subject  of  enlargements,  which  Herr  Angerer  produces 
in  a  different  way  to  that  in  vogue  in  this  country.  Moreover, 
when  we  detailed  our  usual  method  of  making  a  small  trans- 
parency in  carbon  to  begin  with,  he  replied  that  he  had  tried  it 
repeatedly,  but  that  it  did  not  yield  him  such  perfect  results  as 
his  own  plan.  This  is,  to  make  from  the  small  negative  a  large 
collodion  positive,  in  the  first  instance,  which  is  done  in  a  dark- 
room fitted  up  like  a  huge  camera ;  from  this  collodion  positive, 
after  careful  retouching,  is  printed  in  a  printing-frame  a  carbon 
print,  which  is  developed  on  a  glass  plate.  This  large  carbon 
impression  on  glass  is  of  course  negative,  and  rarely  requires 
further  touching  before  being  employed  to  produce  the  finished 


262 


STUDIO  IN  HUNGARY. 


print.  The  elaborate  retouching  is  all  on  the  first  collodion 
positive,  and  not  upon  the  carbon  negative,  and  Herr  Angerer 
believes  that  when  the  retouching  has  been  thus  translated,  the 
finished  effect  is  better. 

Dark  rooms  and  developing  rooms  open  from  the  studio,  which, 
as  we  have  said,  is  "  downstairs,"  from  the  front  of  the  house, 
although  on  a  level  with  the  back  garden  ;  so  that  the  washing 
rooms  and  laboratories  are  half -cellars,  exquisitely  cool  and  dark. 
Herr  Angerer  employs  for  his  washing,  fixing,  and  toning  baths, 
very  large  but  very  shallow  wooden  tubs,  like  low  washing 
tubs,  which  are,  indeed,  exceedingly  practical. 


STUDIO    IN  HUNGARY. 


HERR  KOLLER  IN  PESTH. 

"Mind  you  hear  some  Hungarian  music,' '  says  Dr.  Eder,  as  we 
shake  hands  at  the  Northern  Railway  Station  in  Vienna;  "you 
get  it  to  perfection  in  Pesth."  "We  make  a  mental  note  of  the 
advice,  and  our  pleasant  anticipations  add  something,  no  doubt, 
to  the  admiration  with  which  we  regard  the  beautiful  country 
that  lies  between  the  capitals  of  Austria  and  Hungary.  Now 
and  then  there  are  glimpses  of  the  broad,  placid  Danube  and  its 
green  banks,  with  tiny  villages  grouped  here  and  there — the 
churches  surmounted  by  shining  cupolas,  which  remind  us  more 
vividly  than  aught  else  that  we  are  travelling  in  Eastern  Europe. 
Near  Pressburg  we  pass  through  miles  and  miles  of  vineyards ; 
hill  and  dale  are  covered  with  the  bright  green  vine,  beyond 
which  the  dazzling  white  houses  and  red  roofs  of  the  town  are 
just  visible.  Presently  the  hills  grow  bigger  and  become  more 
rugged ;  the  railway  winds  in  and  out  beside  vast  precipices  and 
giant  peaks.  We  are  among  the  Carpathians,  and  a  magnificent 
range  of  mountains  they  are,  viewing  them  at  close  quarters 
like  this.  By-and-bye,  these  lofty  black  pyramids  are  left  be- 
hind, and  the  blue  Danube  favours  us  with  its  company  once 
more.    It  is  blue,  of  course,  only  in  the  sense  that  invisible 


HERR  KOLLER. 


263 


green  is  green.  But  it  is  getting  dusk  now,  and  all  one  sees  is 
a  broad,  steel-like  band  in  the  moonlight,  beyond  which  rise  the 
dark  irregular  outlines  of  the  Carpathians. 

The  proverb  tells  us,  "  All  cats  are  grey  in  the  dark,"  and  it 
may  be  said  with  almost  equal  truth  that  all  strange  cities  appear 
beautiful  by  night ;  and  if  this  holds  good  with  most  towns, 
Buda  Pest,  which  takes  rank  as  one  of  the  finest  of  European 
capitals,  is  naturally  enoughjstill  further  enhanced.  Indeed,  to 
the  stranger  who  arrives  on  a  moonlight  night,  who  walks  the 
acacia-bordered  quays  (for  the  broad  Danube  flows  straight 
through  the  city),  and  watches  the  dotted  lights  of  Buda  oppo- 
site, their  lurid  reflection  in  the  water  at  his  feet — who  sees  the 
mighty  fortress  rising  aloft  in  the  gloom,  all  the  more  stupendous 
because  of  its  indistinctness — the  glitter  of  the  Palace  across  the 
water,  the  lamps  of  the  bridges,  the  tall  stone  buildings  that  rise 
at  every  corner,  the  broad,  lighted  squares,  the  summer  cafes — 
all  life,  mirrors,  and  bustle — he  who  sees  all  this  must  perforce 
believe  he  has  entered  an  enchanted  city ;  and  the  idea  becomes 
stronger  still  when  he  alights  at  the  broad  steps  of  the  hotel, 
and,  looking  beyond  the  corridor,  sees  a  magnificent  stone  square, 
filled  with  white-clothed  tables,  flowers,  lights,  and  music, 
where  mortals  are  gaily  supping  in  a  scene  all  brightness  and 
animation. 

There  is  a  reverse  side  to  the  picture,  it  is  true.  Our  room 
is  on  the  third  floor,  looking  into  the  square,  and  we  open  the 
windows  to  gaze  down  upon  the  sparkling  scene,  and  listen  to 
the  Hungarian  music  we  have  been  told  to  heed.  It  is  pleasant, 
very  pleasant :  but  when  we  have  heard  a  dozen  instrumental 
pieces,  have  supped  our  fill,  and  have  retired  to  rest,  we  begin 
to  think  the  music  might  be  hushed  with  advantage.  The  day's 
travelling  has  been  heavy,  and  we  yearn  for  a  good  sleep ;  but 
midnight  strikes,  and  the  Hungarian  music  below  is  still  in  full 
swing.  Next  night  there  is  as  much  and  more  of  the  Magyar 
strains,  for  it  is  a  military  band  this  time  that  comes  and  plays 
under  our  roof  till  the  small  hours.  We  begin  to  think  that 
there  was  no  need  for  Dr.  Eder's  advice,  after  all. 

And  now  the  national  music  is  off  our  mind,  we  will  give  our 
reason  for  coming  to  Pesth.  Eight  years  ago  a  charming  collec- 
tion of  photographs  forwarded  to  Pall  Mall  from  the  "  Seven 
Mountains,"  by  Herr  Koller,  were  very  justly  rewarded  with 
a  medal.    Herr  Koller,  we  heard,  had  settled  in  Pesth,  and, 


264 


STUDIO  IN  HUNGARY. 


as  might  have  been  expected,  he  at  once  took  the  lead  among 
photographers  in  the  Hungarian  capital.  Since  we  had  a  desire 
to  visit  one  of  the  first  studios  in  the  kingdom  of  Hungary,  we 
wrote  to  Herr  Koller  to  receive  us.  He  consented,  and  hence 
our  visit. 

A  thorough  chemist,  a  man  of  highly- cultivated  taste,  Herr 
Koller  has  a  most  amiable  and  winning  manner.  That  his  work 
is  that  of  a  master  is  known  to  our  readers  who  saw  the  photo- 
graphs we  allude  to  ;  but  to  view  the  conditions  under  which 
that  work  is  done  is  to  see  one  example  the  more  that  it  is  the 
man,  and  not  the  tools,  that  makes  the  mark.  "You  have 
never  seen  such  a  glass-room  as  this,  I  am  sure,"  says  Herr 
Koller,  opening  a  door  leading  to  the  studio.  "We  look  round. 
It  is  surrounded  on  all  sides  by  lofty  buildings,  and  there  is  no 
clear  view  except  over-head.  Still,  we  jokingly  reply  that  we 
have :  "At  one  of  our  prisons  in  London — Millbank,  a  place 
like  your  Kuf stein — there  is  a  studio  with  just  such  high  walls 
on  every  side." 

Herr  Koller' s  studio  is  singular  in  this  respect :  there  is  no 
side-light  at  all.  It  has  a  large,  low  roof  of  glass,  and  all  the 
illumination  that  enters  gets  in  through  the  roof.  Herr  Koller 
may  be  said  to  out-Luckardt  Luckardt  in  respect  to  lowness  of 
roof ;  it  has  very  little  slope,  and  the  greater  portion  is  clear 
glass.  The  walls  of  the  studio  are  painted — the  upper  portion 
a  light  blue,  and  the  lower  a  dark  brown.  Of  course,  there  are 
curtains  :  but,  as  a  rule,  only  a  light  screen  is  used  to  modify  the 
light  upon  the  sitter.  The  illumination  of  the  room,  at  its  best, 
is  never  bright ;  but  the  light,  if  dull,  is  soft  and  pleasant,  and 
is  at  once  fit  for  photographic  portraiture  with  very  slight 
modifications. 

As  we  have  said,  the  studio  is  surrounded  by  walls.  These 
are  at  a  distance  of  some  sixty  or  eighty  feet,  and  rise  skyward 
to  a  great  height.  He  has  painted  these  distant  walls  blue  (or 
prevailed  upon  his  neighbours  to  do  so),  "  and  for  this  reason," 
says  Herr  Koller,  "there  is  more  light  in  the  studio  than  is  at 
first  apparent.  Sometimes,  when  I  come  in  from  the  front,  I 
w  onder  where  the  light  is  ;  but  it  is  so  diffused  and  manageable 
that  I  find  I  can  take  a  portrait  in  any  part  of  the  room  almost 
at  any  time  of  the  day." 

His  exposures,  nevertheless,  are  rather  longer  than  elsewhere. 
He  is  well  satisfied  if  he  can  make  a  cabinet  picture  with  an 


HERR  KOLLER. 


265 


exposure  of  twenty  to  twenty-two  seconds.  Like  Luckardt, 
he  works  very  much  to  secure  delicate  details  in  the  drapery  of 
his  sitters,  and  the  subdued,  diffused  light  of  the  studio  appears 
to  have  much  to  do  with  success  in  this  respect.  Our  readers 
may  remember  the  in-door  groups  and  interiors  of  Herr  Koller, 
which  secured  him  the  medal  at  Pall  Mall ;  their  strong  point 
was  the  marvellous  detail  in  the  shadows,  and  the  absence  of  all 
inky  blotches  in  corners  and  recesses.  These  effects  are  due  to 
working  with  a  more  uniform  light  than  that  employed  by  most 
photographers. 

In  Buda  Pest,  which,  it  must  be  remembered,  is  the  biggest 
city  in  a  line  between  Vienna  and  Constantinople,  there  is  as 
much  life  and  gaiety  as  in  any  other  European  capital,  while 
the  people  are  more  busy  and  go-a-head  in  their  notions  than 
their  German  neighbours.  One  sees  this  in  photography,  and 
Paris  and  London  might  take  a  lesson  from  Buda  Pest  in  some 
respects.  The  finish  of  the  pictures,  the  elegant  mountings, 
and  the  assortment  of  styles  is  noteworthy  in  the  show-cases  of 
even  second  and  third-class  studios.  The  slender  promenade  or 
panel — termed  the  Mahart — is,  perhaps,  more  popular  here  than 
in  any  locality  in  Europe  ;  while  the  boudoir,  which  is  very 
slow  in  making  way  with  us,  is  almost  as  well  known  as  the 
cabinet. 

Herr  Koller  will  accept  an  order  for  a  single  promenade  por- 
trait, and  for  this  the  sitter  pays  eight  florins  (roughly,  sixteen 
shillings) ;  then  further  copies  are  charged  at  a  reasonable  rate 
— namely,  one  and  a-half  florins  (three  shillings  each).  In  these 
circumstances  a  dozen  promenades  cost  forty-eight  shillings — or, 
perhaps,  more  strictly  speaking,  forty-five — a  price  that  com- 
pares favourably  with  other  European  studios  du  premier  rang. 
This  plan  of  charging  for  the  first  copy  is  a  very  good  way  of 
getting  over  the  proof  difficulty,  as  also  the  dislike  of  a  customer 
for  his  portrait  after  he  has  paid  for  it.  If  he  objects  to  the 
picture,  he  has  always  the  consolation  of  knowing  he  has  not 
disbursed  a  very  large  amount,  and  if  he  desires  to  re-sit,  he  can 
do  so  at  no  great  cost.  At  Herr  Koller' s  establishment,  as  in 
Berlin,  there  is  a  counting-house  attached  to  the  studio,  into 
which  the  customer  first  enters ;  this  comptoir  gives  quite  a 
business  aspect  to  the  undertaking  which  is  absent  from  our 
British  studios. 

Herr  Koller  makes  a  speciality  of  one  form  of  portrait,  for 
which  he  receives  orders  frequently  from  places  as  far  distant 


266 


STUDIO  IN  HUNGARY. 


as  Paris.  This  portrait  is  exquisitely  coloured,  very  fine  and 
transparent  in  nature,  and  does  not  usually  measure  more  than 
twenty  inches.  Herr  Koller  puts  a  specimen  in  our  hands,  and 
asks  us  to  guess  how  it  is  finished.  It  is  a  picture  of  two  young 
girls  with  golden  hair,  and  bright  hazel  eyes.  Its  delicacy  and 
translucent  character  are  something  extraordinary.  "  Is  it  upon 
enamel,  ivory,  or  porcelain  ?  "  we  ask.  Herr  Koller  shakes  his 
head,  and  will  show  us  how  it  is  done.  The  method  is  not 
novel,  he  admits,  and  success  lies  in  the  execution,  rather  than 
anything  else. 

To  get  the  transparent  effect  he  has  recourse  to  the  method 
which  photographers  are  aware  gives  this  property  with  effect. 
He  employs  two  pictures,  one  over  the  other,  as  has  been  pro- 
posed over  and  over  again,  the  last  time  in  connection  with  the 
ill-fated  "  Colour  Company."  Says  Herr  Koller  :  11  Photography 
plays  but  a  subordinate  part,  you  will  perceive :  success  mainly 
depends,  as  a  matter  of  course,  upon  the  skill  of  the  painter 
engaged  in  colouring  the  picture."  To  begin  with,  a  photo- 
graphic print  upon  algseine  paper  is  produced ;  this  may  be  a 
direct  impression,  or  it  may  be  an  enlargement.  Algseine  paper 
permits  of  the  most  exquisite  work  by  the  water-colour  artist ; 
it  is  thin,  and  easily  rendered  transparent.  The  paper  print  is 
finely  painted,  and  then  placed  upon  a  sheet  of  glass.  It  is  now 
ready  for  treatment  with  an  encaustic  paste.  "This,"  says 
our  host,  "  is  a  preparation  of  my  own,  and  made  up  with  gum- 
dammar  and  Canada  balsam."  The  whole  surface  of  the  coloured 
picture  as  it  stands  upon  the  glass  is  covered  with  the  mixture, 
and  submitted  to  a  tolerably  high  temperature,  which  has  the 
effect  of  impregnating  the  picture  through  and  through  with  the 
compound,  rendering  the  paper  transparent,  while  it  seems  to 
heighten  the  brilliancy  of  the  colours.  The  semi-transparent 
coloured  portrait  at  this  stage  does  not  possess  any  particularly 
good  effect — it  looks,  in  fact,  rather  disagreeable,  and  it  is  only 
when  it  is  placed  over  another  roughly-painted  sheet — the  paper, 
in  this  case,  being  thick  and  coarse,  and  the  colour  only  applied 
in  patches — that  the  charming  effect  we  have  alluded  to  is 
produced.  Herr  Koller  has  firm  faith  in  the  permanence  of  the 
photographic  portion  of  his  picture  for  two  reasons :  there  is 
no  albumen,  and  there  is  the  great  protection  afforded  by  the 
encaustic  preparation.  Herr  Koller  has  made  the  process  his 
own,  and  the  labour  he  has  spent  in  perfecting  it  has  certainly 
not  been  thrown  away. 


STUDIOS    IN  BAVARIA. 


HEEE  HOF-PHOTOGKAPH  JOSEF  ALBERT  IN  MUNICH. 

They  are  early  people  in  Munich.  There  is  no  need  to  wait 
until  noon  to  make  a  call  for  fear  you  may  interfere  with  the 
commencement  of  the  daily  labour.  At  nine  o'clock  you  will 
find  the  busy  establishments  here  in  full  swing,  and,  possibly, 
if  you  ventured  there  at  eight,  nobody  would  feel  put  out  but 
yourself.  Going  to  work  so  early  reminds  one  of  the  visit  of  the 
Emperor  of  Brazil  some  two  years  ago,  when  his  Imperial 
Majesty  always  began  the  serious  labours  of  the  day  about  six. 
The  comic  papers,  we  remember,  made  very  merry  over  the 
Emperor  being  up  betimes,  and  published  humorous  diaries  of 
what  was  done  in  the  small  hours  ;  but  it  was  not  such  fun  for 
those  who  had  to  rise  from  a  comfortable  bed,  hours  before  their 
wont,  to  attend  upon  his  Majesty.  We  ourselves  were  called 
upon  to  explain  the  various  applications  of  photography  to 
military  purposes  while  the  morning  air  was  still  raw  and  chill, 
and,  before  seven,  had  gone  through  a  demonstration  of  the 
carbon  process  to  his  Majesty's  entire  satisfaction,  if  not  to  our 
own.  Herr  Albert,  it  seems,  has  done  a  good  deal  of  work  for 
the  Emperor  of  Brazil,  and,  we  believe,  holds  an  appointment 
under  his  Majesty.  Thus  it  comes  about  that  early  rising  and 
photography  are  coupled  in  our  minds  as  we  are  here  in  Munich, 
paying  a  visit  "  At  Home." 

Mr.  Court-Photographer  Joseph  Albert  has  his  establishment 
in  one  of  the  best  streets  in  Munich,  the  Karlstrasse.  He  holds 
high  rank  as  a  portraitist,  and  as  we  pass  into  the  broad  entrance, 
between  handsome  columns,  we  see  many  magnificent  examples 
of  his  work.  The  reception  room  is  small,  but  well  appointed, 
and  on  the  walls  are  some  large  direct  portraits  with  six-inch 
heads,  as  well  as  some  highly-finished  enlargements,  all  of  them 
of  notable  persons.  The  Emperors  of  Germany,  Eussia,  and 
Austria,  the  boy-like  King  of  Bavaria,  as  well  as  potentates  from 
Saxony  and  Hanover,  are  here  represented,  from  negatives  taken 
by  Herr  Albert  himself.  All  the  prints  are,  however,  in  silver, 
and  there  is  not  a  single  example  of  carbon  printing  on  the  walls. 
Herr  Albert  prints  either  by  silver  or  by  Lichtdtuck,  and,  if  you 


268 


STUDIOS  IN  BAVARIA. 


like,  he  will  take  you  a  carte  portrait  and  furnish  you  with  five 
hundred  copies  of  it  for  thirty  marks,  or  thirty  shillings;  a 
thousand  copies  cost  £2  10s.  ;  or,  if  it  is  a  cabinet  portrait,  then 
a  thousand  copies  cost  £3  10s.  The  prints  are  only  upon  writing 
paper  if  delivered  at  this  price,  and  thick  plate  paper  or  cardboard 
pictures  would,  naturally  enough,  cost  more.  For  glazing,  an 
extra  twenty  per  cent,  is  charged. 

We  must  not,  however,  lead  our  readers  to  suppose  that  very 
high  class  Lichtdruck  portraits  are  furnished  for  this  amount. 
As  most  of  us  know  very  well,  to  give  good  Lichtdruck  impres- 
sions, not  only  must  the  negative  be  suitable,  but  the  object  as 
well.  A  gentleman  in  a  black  hat  and  black  coat  could  not  be 
satisfactorily  reproduced  by  Lichtdruck  except  under  much 
difficulty,  and  in  ordinary  circumstances  people  who  know  what 
silver  prints  are  would  not  be  satisfied  with  impressions  in 
Lichtdruck.  In  a  word,  while  very  much  can  be  done  in  collo- 
type printing,  and,  in  the  case  of  reproductions  of  paintings, 
&c,  the  most  satisfactory  prints  produced,  we  have  not  yet  got 
so  far  as  to  print  off  ordinary  portraits  by  steam ;  and  when 
Lichtdrucks  are  particularly  well  done,  we  may  be  sure  no  pains 
or  time  have  been  spared  in  their  production. 

Collotype  printing  is  not  merely  done  by  hand-presses  now-a- 
days,  but  by  machinery  ;  and  here  across  the  yard  we  see  two 
so-called  Schnellpressen  (quick  presses)  at  work.  A  gas-engine 
of  six-horse  power  is  employed  to  drive  the  machines,  and  each 
machine  requires  the  attention  of  a  skilled  mechanic  and  a  girl. 
The  press  is  very  like  the  lithographic  quick-press  with  which 
some  of  our  readers  are  doubtless  acquainted.  Upon  a  big  steel 
bed  lies  the  little  collotype  printing  block.  It  is  a  piece  of 
glass  nearly  half-an-inch  thick,  its  uppermost  surface  carrying 
the  bichromated  gelatine  image.  The  block  seems  very  small 
for  so  large  a  press,  for,  as  the  metal  bed  moves  to  and  fro,  and 
the  big  cylinder  that  carries  the  paper  revolves,  only  a  double 
cabinet  print  results  therefrom.  The  mountain  moves,  and  a 
mouse  issues  forth.  It  takes,  perhaps,  a  minute  to  produce  the 
pair  of  prints.  At  this  particular  machine  they  are  printing 
copies  of  Schiitzenlisl,  a  work  just  now  much  in  request  by  the 
Munich  public.  The  negative  is  from  a  huge  painting  of  a 
Munich  beer-girl — a  lively  young  person  indigenous  to  the  soil, 
who  trips  about  among  her  patrons  with  half-a-dozen  foaming 
tankards  in  each  hand — and  as  there  is  a  good  deal  of  gradation, 


JOSEF  ALBERT. 


269 


and  large  quantities  are  required  quickly  and  cheaply,  the 
Schnell-press  is  employed  in  preference  to  the  slower  and  more 
accurate  hand  machine. 

Let  us  watch  the  printing  for  a  moment.  The  glass  printing 
block,  with  its  brownish  film  gelatine,  moves  horizontally  to  and 
fro,  and,  as  it  does  so,  passes  under  half-a-dozen  ink  rollers, 
which  not  only  apply  ink,  but  disperse  it.  Some  of  the  rollers 
are  of  leather,  and  some  of  glue,  and  whenever  the  printing  block 
retires  from  underneath  them,  an  inked  slab  takes  the  place  of 
the  block,  and  imparts  more  ink  to  the  rollers.  It  is  the  man's 
duty  to  see  that  the  ink  is  duly  carried  to  the  rollers,  and  applied 
by  the  latter  in  sufficient  quantity ;  while  to  the  girl,  who 
stands  at  some  height  above  the  machine,  falls  the  task  of  placing 
a  sheet  of  paper  around  a  huge  cylinder,  which,  in  evolving, 
presses  against  the  block,  and  thus  secures  an  impression  on  the 
paper.  Sometimes  as  many  as  eight  different  rollers  are 
employed  for  inking — the  surface  of  the  block  being  touched  by 
all  as  it  passes  underneath  them — for  the  difficulty  in  working 
by  machinery  is  to  apply  the  ink  as  delicately  and  equally  as 
possible. 

It  is  necessary  at  intervals  to  damp  the  block,  and  when  the 
printer  in  charge  finds  this  to  be  the  case,  he  stops  his  press  for 
a  few  minutes.  The  gelatine  film  from  the  first  has  been 
impregnated  with  a  little  glycerine,  which  serves  to  retain  mois- 
ture, and  now  a  little  more  glycerine  and  water  are  applied  by 
means  either  of  a  cloth  or  sponge.  Then,  previously  to  resuming 
work,  a  leather  roller  is  passed  over,  to  remove  surplus  moisture, 
and  the  block  is  again  ready  for  printing. 

The  quick  presses  in  use  at  the  Albert  establishment  will  pro- 
duce from  800  to  2,000  copies  a  day,  but,  as  we  said  before,  the 
work  is  obviously  not  so  fine  as  that  produced  by  a  careful 
printer  with  a  hand-press.  At  the  same  time,  there  is  a  vast 
amount  of  work  that  naturally  falls  to  the  lot  of  the  Schnellpress. 
The  printing  of  pictures  for  catalogues  offers  a  wide  field. 
Hatters,  ironmongers,  engineers,  bookbinders,  tailors,  furniture- 
dealers,  &c,  &c,  are  all  beginning  to  find  out  the  value  of 
photographic  illustrations,  and  Lichtdruck  renders  great  service 
in  permitting  them  to  place  before  the  public  representations  of 
objects  for  sale  in  a  most  novel  and  satisfactory  manner. 

The  actual  preparation  of  the  printing  blocks  we  detail 
in  our  "  At  Homes"  at  Herr  Obernetter  of  Munich,  and  Herr 


270 


STUDIOS  IN  BAVARIA. 


Lbwy  at  Vienna,  merely  remarking  here  that  Herr  Albert,  no 
more  than  his  colleagues,  does  not  practise  the  old  method  of 
Lichtdruck,  in  which  two  films  of  bichromated  gelatine  are 
applied.  Herr  Albert's  original  plan — and  he  was  the  first  to 
employ  Lichtdruck  practically,  if  we  except  Gamier' s  beautiful 
process — was  to  apply  a  preliminary  coating  of  bichromated 
gelatine  to  the  thick  glass  plate,  the  film  being  exposed  through 
the  back  of  the  glass,  and  thus  rendered  insoluble  and  tightly 
cemented  to  the  surface  ;  this  firm  film  served  as  a  basis  for  the 
second  sensitive  coating  that  was  afterwards  impressed  by  the 
negative.  This  double  treatment  of  the  thick  glass  plate  is  now 
definitely  abandoned  in  most  Lichtdruck  establishments,  and, 
instead,  a  preliminary  coating  of  soluble  silicate  and  white  of 
egg  dissolved  in  water  is  employed.  This  solution  must  be  very 
dilute,  it  must  be  prepared  fresh,  and  last,  but  not  least,  the 
silicate  must  be  entirely  free  from  caustic  potash  ;  otherwise  the 
result  is  never  perfect.  The  preliminary  film  is  exceedingly  thin, 
and  prior  to  the  application  of  the  bichromated  gelatine  it  is 
rinsed  with  water,  so  that  an  open  porous  surface  may  be 
obtained.  The  printing,  which  is  done  in  an  ordinary  printing 
frame,  is  usually  conducted  with  a  stripped  negative,  but  a 
reversed  negative  taken  on  patent  plate  can  be  pressed  sufficiently 
in  contact  to  give  a  sharp  impression. 

Most  Lichtdruck  prints  are  treated  with  shellac  varnish  after 
drying,  and  in  this  way  are  made  to  look  very  much  like  silver 
prints,  for  which  they  are  frequently  sold.  Carefully  printed 
Lichtdrucks  on  matt  plate  paper  are  not  varnished,  these  being 
generally  used  for  book  illustrations. 

We  pass  from  the  Schnellpress  room  into  the  ordinary  silver 
printing  room,  where  a  revolving  table  for  vignettes  at  once 
attracts  notice.  It  is  a  round  table  about  four  feet  in  diameter, 
upon  which  the  printing  frames  are  laid.  The  motive  power  is 
a  large  clock,  or  rather  the  works  of  one,  the  clock  being  set  in 
motion  by  two  heavy  weights,  such  as  one  sees  attached  to  the 
ordinary  Dutch  clock.  "  It  is  a  very  simple  affair,"  says  our 
friend ;  "  I  constructed  it  myself.  The  table  moves  very  slowly, 
but  goes  on  all  day,  if  you  pull  up  the  weights  occasionally." 
"We  saw  the  vignettes  thus  automatically  printed,  and  they  were 
very  finely  graduated. 

In  Herr  Albert's  establishment,  the  cabinet  portrait  style  is 
most  favoured  by  the  public,  the  charge  made  for  a  dozen  pictures 


JOSEF  ALBERT. 


271 


T3eing  27  marks  or  shillings;  but  then  Munich,  it  must  be 
remembered,  is  altogether  a  cheap  city. 

Some  specimens  of  colour  printing  in  Herr  Albert's  studio 
deserve  mention.  Herr  Albert  has  been  experimenting  with 
some  success  on  the  method  which  is  usually  connected  with  the 
name  of  Ducos  du  Hauron.  A  painting  is  photographed  three 
times  ;  the  first  negative  is  taken  through  a  red  screen,  the 
second  through  a  blue  screen,  and  the  third  through  a  yellow 
screen.  Albert  employs  coloured  liquids  for  his  screens,  and  in 
this  way  he  secures  three  negatives,  in  the  taking  of  which 
respectively  the  rays  of  the  three  primary  colours  have  been  ab- 
sorbed. The  negative  taken  through  the  red  screen  is  then 
printed  upon  red  carbon  tissue,  and  the  other  two  negatives 
printed  respectively  with  blue  and  yellow  tissue.  Then  the  three 
prints  in  red,  yellow,  and  blue  are  superposed,  and  the  picture 
is  finished.  By  working  in  this  way,  Herr  Albert  claims  to 
have  reproduced  a  coloured  picture  of  Lemercier,  which  had  been 
produced  from  eighteen  stones  (and  therefore  contained  eighteen 
different  tints)  in  all  its  pristine  beauty.  As  the  original  was 
not  at  hand  for  comparison,  it  was  impossible  to  say  how  far 
success  had  been  secured,  but  certainly  the  Albert  pictures  are 
very  pleasing  and  interesting.  To  talk  of  the  process  as  one  of 
photographing  in  natural  colours  is  of  course  nonsense,  for  there 
is  no  relation  between  the  colours  absorbed  by  the  screens  and 
the  particular  pigment  which  happens  to  be  in  the  carbon  tissue; 
but,  as  an  important  experiment,  the  matter  deserves  notice. 
But  more  satisfactory  still  than  the  compound  pictures  in  colours 
was  a  compound  picture  we  saw  (from  the  three  negatives) 
printed  in  monochrome  or  sepia ;  the  painting  was  here  repro- 
duced far  more  satisfactorily  than  when  a  single  negative  only 
was  employed  for  printing.  In  effect,  the  colours  of  the  original 
picture  appeared  to  have  been  more  truthfully  translated  into 
monotone  by  taking  three  negatives  under  the  particular  con- 
ditions ;  so  harmonious,  indeed,  was  the  result,  that  we  should 
not  be  surprised  if  in  future,  in  the  photographing  of  paintings, 
recourse  is  not  had  to  this  particular  method,  or  a  modification 
of  it. 

HERR  J.  OBERNETTER  IN  MUNICH. 
Whethee  there  is  any  truth  in  the  proverb  that  work  prospers 
most  upon  hallowed  ground,  we  know  not ;  but  we  can  say  this 


272 


STUDIOS  IN  BAVARIA. 


much,  at  any  rate,  that  we  did  not  see  better  Liehtdruck  work 
during  our  recent  tour  in  Europe  than  that  met  with  in  Herr 
Obernetter's  establishment.  If  not  situated  in  the  Senefelder 
Strasse  itself,  the  printing-rooms  are  within  a  stone's  throw  of 
the  thoroughfare  named  after  the  discoverer  of  lithography,  and 
we  may  surely  expect  that  if  photo-lithography,  collotype,  and 
arts  allied  to  lithography,  are  to  be  found  anywhere  in  perfec- 
tion, it  is  near  the  spot  where  Senefelder  was  born. 

Be  this  as  it  may,  Herr  Obernetter — who  enjoys  the  reputa- 
tion of  an  ardent  photo-chemist  and  experimentalist,  not  only  in 
Germany,  but  wherever  photography  is  known — has  arrived  at 
a  wonderful  pitch  of  excellence  in  his  work.  He  has  no  Schnell- 
press  on  the  premises,  but  only  hand- presses ;  but  then  his  aim 
is  more  to  do  the  best  work,  rather  than  much  of  it ;  that  is  to- 
say,  his  principal  work  lies  in  the  printing  of  negatives  from 
nature,  rather  than  the  printing  of  negatives  of  pictures,  engrav- 
ings, &c. ;  and  everybody  conversant  with  mechanical  printing 
knows  the  former  to  be  the  more  difficult.  Doubtless  Herr 
Obernetter  requires  a  higher  price  for  his  work,  for,  in  some 
cases,  it  proceeds  very  slowly  indeed. 

We  need  not  here  recapitulate  the  processes  and  formulae  of 
the  Liehtdruck  process,  which,  if  not  identical,  are  very  similar 
indeed  to  those  we  have  already  given  in  our  "  At  Home"  at 
Herr  Lowy,  in  Yienna.  Here,  as  in  that  establishment,  the 
main  point  is  the  preparation  of  bichxomated  gelatine  images  on 
the  Liehtdruck  plates,  from  which  prints  are  struck  off  in  the 
press.  Herr  Obernetter,  since  he  only  employs  the  slower  and 
more  careful  hand-press,  goes  to  work  rather  differently  in  the 
preparation  of  his  Liehtdruck  plates.  Instead  of  the  bichro- 
mated  gelatine  being  applied  to  solid  plate  glass,  half  an  inch 
thick,  only  patent  plate  of  ordinary  thickness  is  used.  It  is 
more  handy  of  manipulation,  and  is  better  adapted  to  the  com- 
mon printing-frame.  Afterwards,  when  taken  to  the  press,  the 
patent  plate  is  laid  upon  a  bed  of  plate  glass,  and  in  this  way 
receives  the  necessary  support. 

Another  thing  that  struck  us  was  that  the  gelatine  images 
upon  the  Liehtdruck  plates  were  rather  more  yellow  than  those 
we  saw  in  Vienna.  The  yellowness,  it  is  true,  was  a  mere 
tinge,  but  still  those  elsewhere  were  sometimes  quite  colourless, 
and  this  had  been  pointed  out  as  a  sign  of  perfection.  Herr 
Obernetter's  work  proves,  at  any  rate,  that  the  yellowish  tinge 
is  by  no  means  inseparable  from  good  results. 


HERE  J.  OBERNETTER. 


273 


The  laboratory,  washing  room,  drying-cupboards,  &c,  are  all 
on  the  basement,  and  here,  too,  are  the  reproductions  of  nega- 
tives made  by  the  graphite  process,  to  the  excellence  of  which 
Herr  Obernetter  called  attention  six  or  seven  years  ago,  and 
which  then,  as  now,  is  one  of  the  most  valuable  reproducing 
methods  we  have.  A  great  many  of  the  cliches  Herr  Obernetter 
receives  have  to  be  reproduced  before  they  can  be  transformed 
into  Lichtdruck  plates,  and  he  employs  either  the  wet  collodion 
process  or  the  graphite  method,  according  to  circumstances.  If 
he  desires  to  make  the  copy  softer  than  the  original,  he  employs 
collodion ;  if  he  desires  to  infuse  vigour,  and  make  the  copy 
stronger  than  the  original,  he  uses  graphite.  The  qualities  of 
the  gelatino-bromide  process  he  does  not  think  lend  themselves 
to  making  reproductions  suitable  for  Lichtdruck. 

If  a  negative  is  otherwise  satisfactory,  it  usually  requires 
stripping,  an  operation  performed  in  the  simplest  manner.  The 
negative  is  put  upon  a  levelling  stand,  and  fluid  gelatine  of 
tolerable  consistence  poured  over  it.  When  dry,  a  penknife  is 
run  round  the  margin,  and  the  film  leaves  the  glass  without  any 
trouble.  A  stripped  film  is  always  preferred  for  printing  the 
Lichtdruck  impression-,  since,  with  pressure,  there  is  no  difficulty 
about  getting  perfect  contact ;  where  fine  detail  exists,  this  is 
absolutely  necessary.  A  large  series  of  Lichtdruck  plates  ready 
for  printing  are  passed  in  review,  some  of  them  exceedingly 
delicate.  "  We  are  satisfied  if  we  get  from  100  to  400  copies 
from  plates  like  these,' '  says  the  manager  of  the  laboratory ; 
"  as  there  is  no  difficulty  now  in  making  the  plates,  we  never 
push  the  printing  too  far." 

We  walk  upstairs  into  the  printing  room.  Here  are  a  dozen 
presses  at  work,  all  of  them  known  by  the  name  of  the  Star  or 
Stern-press.  They  are  small  lithographic  presses,  one  man 
sufficing  to  work  them,  who  turns  a  revolving  wheel,  which 
reminds  one  of  steering  a  ship.  As  we  have  said,  the  Licht- 
druck plate,  gelatine  image  upwards,  is  laid  upon  a  sheet  of  plate 
glass  by  way  of  bed,  the  film  having  first  been  treated  with 
glycerine  and  water,  as  we  have  previously  described.  The  work 
is  very  similar  to  lithography,  except  that  more  time  and  care 
are  spent  over  it.  In  the  first  place,  a  moist  sponge  is  rubbed 
over  the  surface  ;  then  comes  a  soft  wash-leather  roller,  whose 
surface  is  soft  and  of  the  appearance  of  crepe,  which  is  rolled 
over  the  Lichtdruck  plate  two  or  three  times  to  remove  surplus 

T 


274 


STUDIOS  IN  BAVARIA. 


moisture.  The  ink  rollers  that  are  now  applied  are  of  glue  com- 
position, and  as  the  impression  requires  two  inks — it  is  a  Pom- 
peian  window — the  thick  ink  is  first  put  on.  The  roller  is  not 
passed  once,  but  half  a  dozen  times  at  least  over  the  plate,  and 
then  another  roller  charged  with  thin  ink  is  applied  in  the  same 
manner.  It  takes  fully  five  minutes  to  sponge  and  roll  up  the 
plate,  the  rolling  being  done  gently,  but  firmly.  A  sheet  of 
paper  is  now  laid  upon  the  plate,  the  tympan  lowered,  and  the 
scraper  adjusted  with  due  pressure  ;  a  revolution  of  the  wheel 
completes  the  printing,  the  well-known  scraping  action  of  the 
lithographic  press  being  used  in  the  operation. 

A  more  gentle  and  time-taking  process  still  is  in  operation  at 
the  next  hand-press.  Here  is  a  delicate  interior  (from  nature), 
and  the  printer,  one  of  the  skilful  hands,  is  paying  it  great  atten- 
tion. Not  only  does  he  spend  more  time  over  the  sponging  and 
rolling  up,  but  the  paper  for  the  print  is  carefully  laid  on, 
tamped  with  the  fingers  on  the  back,  and  then  gently  rubbed 
with  the  palm  of  the  hand,  before  the  tympan  is  lowered  and 
pressure  applied.  Altogether  it  is  a  most  delicate  process,  and 
we  question  whether  a  dozen  prints  per  hour  are  pulled.  Eut 
they  are  very  fine  and  perfect  pictures  that  result. 

Some  of  the  prints  are  taken  on  thick  plate  paper,  and  are  then 
ready  for  binding  without  further  ado ;  these  are  usually  for 
book  illustrations.  Other  pictures,  that  are  to  pass  muster 
among  silver  photographs,  are,  on  the  other  hand,  printed  upon 
fine,  thin  paper,  and  then  varnished  and  pressed  to  impart  to 
them  a  better  surface.  The  varnishing  is  done  by  first  sizing  in 
a  thin  solution  of  gelatine,  and  then  dipping  in  a  solution  of 
shellac  in  spirit. 

Another  class  of  work  is  the  printing  of  little  vignetted 
photographs  upon  note  and  letter  paper.  Everybody  is 
acquainted  with  the  pictorial  letter  paper,  sold  at  a  penny  a 
sheet  at  all  spas  and  tourist  resorts,  each  sheet  having,  by  way 
of  heading,  a  coarse  engraving  of  some  local  spot  or  building  of 
interest.  A  German  publisher  has  conceived  the  idea  of  printing 
real  photographs,  instead  of  these  woodcuts,  upon  letter  paper, 
and  at  one  of  the  presses  here  a  collotype  printer  is  printing  off 
such  copies  at  the  rate  of  about  sixty  an  hour. 

We  pass  on  through  the  varnishing-room  into  the  photo- 
graphic studio.  As  no  portraits  are  taken  here,  but  it  serves 
simply  for  making  reproductions,  the  only  aim  has  been  to  make 


HERR  J.  OBERNETTER. 


275 


the  apartment  as  light  as  possible.  The  photographer  attached 
to  the  establishment  is  engaged  upon  wet-plate  work.  He  does 
not  albumenize  before  coating  with  collodion,  but  prefers  well- 
polished  plates,  which,  he  avows,  are  better  produced  by  rubbing 
with  thin  Chinese  paper  and  a  little  old  collodion,  than  in  any- 
other  way.  Chinese  paper  does  not  give  rise  to  loose  fluff  and 
fibre,  like  fabric — a  point  that  may  well  be  noted. 

Here  is  Obernetter's  graphite  process  for  reproducing  negatives. 
A  patent  plate  is  coated  with  the  following,  when  filtered : — 

Dextrine    62  grains 

Ordinary  white  sugar    77 

Bichromate  of  ammonia       ...       ...  30*8  ,, 

Water   3*21  ounces 

Glycerine    2  to  8  drops 

The  film  is  dried  at  a  temperature  of  130°  to  140°  F.,  in  about 
ten  minites,  and  while  still  warm  is  printed  under  a  negative  in 
diffused  light  for  a  period  of  five  to  fifteen  minutes.  In  a  well- 
timed  print,  the  image  is  slightly  visible;  the  plate  is  again 
warmed  a  little  above  atmospheric  temperature  in  a  darkened 
room,  and  then  fine  levigated  graphite  is  applied  with  a  fine 
dusting  brush,  a  sheet  of  white  paper  being  put  underneath  to 
judge  of  the  effect. 

Breathing  upon  the  plate  renders  it  more  capable  of  attracting 
the  powder.  When  the  desired  vigour  has  been  attained,  the 
superfluous  powder  is  dusted  off,  and  the  plate  is  coated  with 
normal  collodion.  Afterwards  the  film  is  cut  through  at  the 
margins  of  the  plate  by  means  of  a  sharp  knife,  and  put  into 
water.  In  a  little  while — from  two  to  five  minutes — the  collo- 
dion with  the  image  will  be  detached  from  the  glass ;  the  film  is 
at  once  turned  over  in  the  water,  and  brought  out  upon  the  glass 
plate.  Under  a  soft  jet  of  water  any  air-bubbles  that  may  exist 
between  the  collodion  and  the  glass  are  removed,  and  then  the 
image  is  poured  over  with  a  thin  solution  of  gum-arabic  (two 
grammes  of  gum  dissolved  in  one  hundred  grammes  of  water), 
and  allowed  to  dry  spontaneously  in  an  upright  position. 


STUDIO    IN  BELGIUM. 


M.  GERUZET  IN  THE  RUE  DE  L'ECUYER,  BRUSSELS. 

M.  Geeuzet  enjoys  a  distinction  of  which  he  may  well  be 
proud.  Of  all  portraitists  on  the  Continent  of  Europe,  he  is 
the  only  one  who  prints  his  work  in  carbon,  and  in  carbon  alone. 
"I  made  a  vow,  two  years  ago,  to  produce  only  permanent 
portraits,"  says  M.  Geruzet  to  us,  "  and  I  have  since  kept  to  it. 
If  a  better  process  than  the  carbon  is  brought  forward,  I  sha1! 
be  quite  ready  to  adopt  it,  for  printing  in  pigments  is  not  un- 
attended with  difficulty ;  meanwhile  I  take  the  best  process  I 
can  that  will  give  me  durable  work." 

All  the  prints,  then,  we  see  around  us — from  tiny  carte  to 
life-size  pictures — are  printed  in  permanent  pigments.  "  What 
of  their  quality  ? ' '  it  will  be  asked .  0 ur  reply  is  that  M .  Geruzet, 
five  years  ago,  was  in  the  first  rank  of  portraitists  in  the  Belgian 
capital,  and  in  that  position  he  is  still  as  firm  as  ever.  It  may 
be  that  in  small  work  the  impressions  are  less  bright  and  pretty, 
occasionally,  than  might  be  produced  from  highly-albumenized 
paper  of  roseate  hue,  as  M.  Geruzet  himself  readily  admits  ;  but, 
among  the  many  prints  we  critically  examined  at  the  studio, 
there  were  none  that  were  anything  but  satisfactory,  while, 
in  many  cases,  it  would  have  puzzled  an  expert  to  say  whether 
silver  or  pigment  constituted  the  impression. 

We  shall  say  but  little  of  M.  Geruzet' s  studio,  into  which 
we  were  first  invited,  for  the  simple  reason  that  we  desire  to  do 
justice  to  the  carbon  operations  in  progress  at  the  establish- 
ment Suffice  it  to  say  that  M.  Geruzet  employs  now  only  the 
gelatino-bromide  process.  He  purchases  the  dried  pellicle 
always,  and  dissolves  it  for  use  as  required  ;  and  he  uses  none 
other  than  oxalate  development.  For  carbon  printing  he  thinks, 
indeed,  that  oxalate  development  is  imperative  ;  but  a  daily 
experience  of  eighteen  months  has  proved  to  him  its  superiority 
over  the  pyrogallic  developer  in  many  ways.  In  this  respect, 
by-the-bye,  M.  Geruzet  does  not  differ  from  his  brethren  in 
Brussels  and  in  Paris,  for,  at  the  chief  ateliers  in  the  French 
capital — Benque,  Yan  Bosch,  Lejeune,  Walery,  Nadar — the 
oxalate  developer  is  also  in  favour.  It  is  so  difficult  to  judge  the 
printing  density  of  a  pyrogallic  negative,  and,  since  the  whole 


M.  GERUZET. 


277 


success  of  a  carbon  print  depends  upon  this,  it  is  naturally  a 
matter  of  the  first  importance.  "JNon,  non,"  says  M.  Geruzet, 
emphatically,  "pas  de  pyro." 

The  sensitizing  of  the  tissue  is  conducted  in  the  cool  domain 
of  the  cellar.  The  solution  of  bichromate  varies  from  3  to  5  per 
cent,  in  strength,  the  tissue,  as  it  comes  from  the  bath,  being 
gently  squegeed  on  a  glass  plate  to  remove  the  superfluous 
liquid.  It  is  contact  with  the  bichromate  solution  that  is  one 
of  the  most  vexatious  drawbacks  of  the  carbon  process,  for  one 
cannot  but  admit  it  is  injurious  to  health.  To  take  care  that 
the  skin  is  touched  by  the  solution  as  seldom  as  possible  is  one  of 
the  standing  precautions  ;  but  it  is  not  so  easy  for  a  principal  to 
get^  his  assistants  to  carry  out  even  regulations  provided  for 
their  benefit.  The  temperature  at  Brussels  in  the  summer,  and 
also  in  spring,  is  often  so  warm  that  the  sensitizing  of  the  tissue 
cannot  be  carried  on  uninterruptedly  in  an  ordinary  room,  for 
gelatine  runs  when  the  thermometer  points  to  90°  E.  or  there- 
abouts. At  the  same  time,  after  thoroughly  draining  and 
squegeeing,  the  tissue  is  found  to  set  so  quickly,  that  within  ten 
minutes  or  a  quarter- of -an-hour  of  its  being  sensitized  it  can  be 
carried  into  one  of  the  upper  rooms  to  dry.  Heat  is  now  a 
matter  of  little  consequence,  so  long  as  there  is  a  good  current 
of  air ;  and  M.  Geruzet  allows  the  drying  to  go  on  as  quickly 
as  possible.  Keeping  the  tissue  for  twenty-four  hours  after 
sensitizing,  instead  of  being  hurtful,  is,  in  some  conditions  of 
the  tissue,  a  positive  advantage.  But  this  question  is  a  matter 
in  which  experience  is  the  only  guide. 

We  now  proceed  to  the  printing- shed  on  the  roof,  and  here  a 
singular  sight  presents  itself.  There  are  probably  five  hundred 
small  negatives  printing,  and  yet  not  a  single  printing-frame. 
The  printing  is  conducted  in  the  open,  but  in  the  shade.  ' '  Many 
talk  of  the  comparative  rapidity  of  carbon  printing,"  says 
M.  Geruzet;  "but,  practically  speaking,  owing  to  the  care 
necessary  in  the  operation,  the  work  does  not  go  on  more  quickly 
than  the  production  of  good  silver  prints." 

We  have  said  that  no  printing-frames  are  used.  Each  carte 
or  cabinet  is  simply  made  fast  to  an  under  glass  by  means  of  two 
or  three  American  clips.  A  piece  of  pigment  tissue  is  put 
under  the  negative ;  this  is  backed  up  by  half-a-dozen  pieces 
of  red  blotting-paper  to  act  as  a  pad,  and  the  whole  clamped 
between  the  two  glasses.    It  is  the  simplest  arrangement  con- 


278 


STUDIO  IN  BELGIUM. 


ceivable.  Since  it  is  never  necessary  to  look  at  an  impression 
in  course  of  printing,  the  whole  raison  d'etre  of  a  complicated 
pressure-frame  disappears,  the  negatives  can  be  closely  packed 
in  rows  on  the  printing-board,  and,  when  printed,  the  process 
of  changing  the  tissue  of  a  hundred  negatives  or  so  is  but  the 
work  of  a  few  minutes. 

Every  negative  has  gummed  round  it  a  paper  margin  or  mask, 
so  that  an  unexposed  border  of  tissue  is  around  every  print. 
The  negatives  are  examined  by  the  printer  before  the  printing 
commences,  and  he  estimates  their  density ;  they  are  then  put 
in  closely-serried  rows  upon  the  prin ting-board,  according  to 
the  density  they  present.  Thus  one  row  will  remain  exposed 
to  light  until  the  photometer — Marion's  photometer  is  em- 
ployed— records  five  degrees,  another  row  until  six  is  recorded, 
and  so  on.  M.  Geruzet,  by  means  of  the  oxalate  developer, 
can  now  control  the  density  of  his  negatives  so  well  that  they 
all  range  between  five  and  eight  degrees. 

We  will  now  follow  a  batch  of  exposed  pieces  of  tissue  to  the 
developing  room.  This  is  a  sombre  apartment  with  plenty  of 
water,  warm  and  cold,  laid  on.  The  development  of  the  prints 
takes  place  on  sheets  of  opal  glass  measuring  about  12  by  10 
inches.  The  surface  of  the  opal  is  polished,  and  this  first 
receives  a  preliminary  coating  of  white  wax,  which  is  simply 
rubbed  on  and  off  again ;  afterwards  thin  normal  collodion  is 
poured  on,  and  the  plate  put  into  cold  water  until  the  greasiness 
of  the  surface  has  disappeared.  Here  in  a  shallow  bath  of  cold 
water  are  half-a-dozen  such  prepared  plates  ready  at  hand  for 
development. 

Six  or  eight  small  pieces  of  the  printed  tissue  are  now  thrown 
into  cold  water, *  and,  when  thoroughly  soaked,  say  in  two 
minutes,  they  are  pressed,  of  course  face  downwards,  upon  the 
wet  opal  plate.  A  little  while  elapses,  to  permit  the  tissue  to 
become  firmly  adherent  to  the  glass,  and  then  immersion  in  warm 
water  follows.  The  temperature  of  this  water,  as  most  of  our 
readers  know,  must  depend  to  some  extent  on  the  tissue,  whether 
it  is  fresh  or  stale,  but  90°  to  95°  E.  is  the  usual  warmth.  A^ 
the  pieces  of  tissue  are  supposed'  to  have  received  the  same 
amount  of  printing,  and  should,  therefore,  develop  simulteneously, 


*  With  very  fine  work,  it  is  well  to  coat  the  printed  tissue  also  with 
collodion,  prior  to  its  immersion  in  cold  water  for  development. 


M.  GERUZET. 


27$ 


but  this  does  not  happen  in  practice.  It  becomes  necessary  to 
hasten  the  washing  of  the  more  tardy  images,  and  this  is  done 
by  using  ammonia.  A  coffee-pot-looking  utensil  stands  close 
at  hand  containing  warm  water  to  which  a  little  ammonia  haa 
been  added,  and  this  mixture  is  carefully  poured  over  the  sur- 
face of  those  prints  from  which  the  superfluous  pigment  refuses 
to  wash  away.  In  this  way  the  development  is  at  once  accek  • 
rated,  and  the  manipulation  of  half  a  dozen  impressions  can  be 
proceeded  with  at  the  same  time. 

The  white  opal  surface,  of  course,  permits  one  to  judge  of 
the  success  of  the  print  on  development,  and  we  need  scarcely 
say  that  this  part  of  the  process  is  the  most  difficult  and  cruci^ 
of  all.  Besides  skill  and  experience,  the  carbon  printer  must 
have  an  inexhaustible  amount  of  patience.  "  If  you  will  only 
wait,  you  will  get  what  you  want,"  is  a  proverb  that  the  carbon 
worker  must  have  closely  at  heart,  for  it  may  happen  that  he 
has  to  develop  half-a-dozen  impressions  before  securing  that  pitch 
of  perfection  he  desires.  Fifty  per  cent,  of  failures  M.  Geruzet ' 
would  probably  take  as  a  low  estimate  ;  in  any  case,  however 
frequent  failure  may  arise,  he  pushes  on  until  success  at  last 
attends  his  efforts. 

The  application  of  gelatined  paper  to  the  developed  prints 
when  dry,  and  stripping  the  latter  from  the  glass  surface,  are 
matters  of  less  moment.  M.  Geruzet  employs  fresh  paste  for 
mounting,  but  with  carbon  prints,  obviously,  this  operation  plays 
a  far  less  important  role  than  when  silver  impressions  are  under 
consideration. 

We  have  only  referred  to  the  printing  of  small  work,  for  it 
is  in  this  that  so  many  photographers  have  failed.  M.  Geruzet 
succeeds  where  others  do  not,  for  the  simple  reason  that  he  has 
a  larger  stock  of  patience,  and  has  the  courage  to  .  condemn  all 
but  first  class  work.  As  we  have  said,  among  the  vast  collec- 
tion of  prints  we  saw,  there  was  not  one  picture  that  was  unsatis- 
factory ;  but  this  was  due  to  the  fact  that  he  destroys  all 
mediocre  pictures.  In  saying  this,  we  do  not  desire  to  underrate 
M.  Geruzet's  experience,  skill,  and  keen  judgment  on  points 
connected  with  carbon  printing,  but  we  are  sure  that  these  would 
never  have  led  him  to  success  unless  he  possessed  much  courage 
and  patience  into  the  bargain. 


INDEX. 


Abney,  Captain,  at  South  Kensington, 

London,  55 
Adam-Salomon,  M.,  in  Paris,  202 
Adole,  Atelier,  at  Vienna,  250 
Albert,  Herr  Josef,  at  Munich,  267 
Angerer,  Herr  Victor,  at  Vienna,  258 
Annan,  Messrs,  T.  and  R.,  at  Glasgow, 

198 

Autotype  Works,  Ealing,  London,  29 
Barton,  Mr.  W,  Harvey,  at  Bristol,  171 
Bas:ano,  Alexander,  Mr.,  in  Old  Bond 

Street,  London,  80 
Bedford,  Francis,  Mr.,  at  Camden  Town, 

London,  9 
Benque  et  Cie.,  MM.,  in  Paris,  211 
Blan chard,   Valentine,  Mr.,  in  Regent 

Street,  London,  59 
Brown,  Barnes,  and  Bell,  Messrs.,  at 

Liverpool,  156 
Downey,  W.  and  D.,  Messrs.,  at  Ebury 

Street,  London,  19 
Eder,  Dr.  J.  M.,  at  Vienna,  242 
Electric    Studio,    Van   der  Weyde's, 

London,  72 
Elliott  and  Fry,  Messrs.,  at  Baker  Street, 

London,  42 
England,    William,  Mr.,   at  Notting 

Hill,  London,  14 
Faulkner,  Robert,  Mr.,  in  Baker  Street, 

London,  68 
Fergus,  Mr.  John,  at  Largs,  183 
Fry,  Elliott  and,  Messrs.,  at  Baker  Street, 

London,  42 
Geruzet,  M.,  at  Brussels,  276 
Grove,  Window  and,  Messrs.,  at  Baker 

Street,  London,  92 
Hills  and  Saunders,  Messrs.,  at  Porchester 

Terrace,  London,  50 
Huggins,   Dr.,   at   Upper   Tulse  Hill, 

London,  83 
Hughes,  Mr.  Jabez,  at  Ryde,  132 
Jennings,  Payne,  Mr.,  at  West  Dulwich, 

London,  23 
Kew  Observatory,  137 
Koller,  Herr,  at  Pesth,  262 
Lafosse,  M.,  at  Manchester,  161 
laws,  Mr.  T.  M.,  at  Newcastle,  152 
Lej>  une,  Maison,  at  Paris,  218 
Lowy,  Herr,  at  Vienna,  253 


Luckardt,  Ilerr  Fritz,  in  Vienna,  253 
Mayall,  Mr.  J.  E.,  at  Brighton,  127 
Mayland,  Mr.  W.,  in  Regent  Street, 

London, 101 
Midwinter,  Mr.  W.  H.,  at  Bristol,  175 
Millbank  Prison,  London,  11 
Nadar,  M.,  in  Paris,  214 
Observatory  at  Kew,  137 
Obernetter,  Herr,  at  Munich,  271 
Pentonville  Penitentiary,  London,  119 
Perlmutter,  Herr,  at  the  Atelier  Ad£le, 

Vienna,  250 
Photo-lithographic  Establishment,  Wool- 
wich, 64 

Phototype  Establishment  in  London,  110 
Platinctype  Company  at  Bromley  Road, 

London,  76 
Prefecture  de  la  Police,  at  Paris,  222 
Prison,  Millbank,  in  London,  114 
Priimm,  HerrT.,  in  Berlin,  232 
Robinson,  Mr.  H.  P.,  atTunbridge  Wells, 

123 

Russell  and  Sons,  Messrs.,  at  Worthing, 
179 

Saloman,  Adam,  M.,  in  Paris,  202 
Sarony  Square  at  Scarborough,  146 
Saunders,  Messrs.  Hills  and,  at  Porchester 

Terrace,  London,  50 
Schaarwachter,  Herr  J.  C,  in  Berlin,  227 
Slingsby,  Mr.  Robert,  at  Lincoln,  142 
Swan,  Mr.  J.  W.,  at  Newcastle,  165 
Taylor,  A.  and  G.,  Messrs.,  at  Forest 

Hill,  London,  37 
Valentine  and  Sons,  Messrs.,  at  Dundee, 

191 

Wane,  Mr.  Marshall,  at  Edinburgh,  187 

Warnerke,  Mr.  L.,  at  Champion  Hill, 
London,  105 

Weyde,  Van  der,  Mr.,  in  Regent  Street, 
London,  72 

Window  and  Grove,  Messrs.,  at  Baker 
Street,  London,  92 

Winter  Brothers,  Messrs.,  at  Vienna,  245 

WoodburT,W.,  Mr.,  at  South  Norwood, 
London,  44 

Woodbury  Permanent  Printing  Co.,  at 
Ealing,  London,  96 

Woolwich,  Photo-lithographic  Establish- 
ment, 64 


To  Photographers,  Crayon  Artists, 
Water  Color  Artists,  Portrait 
Painters,  Workers  in  Pastel,  Cray- 
ons, and  Amateurs: 

IT  will  pay  you  to  write  for  my  new  reduced 
price-list  of  Photographic  Stock  and  Artists' 
Materials  of  all  kinds.  Will  send  it  free,  to  any  ad- 
dress, on  receipt  of  a  request  for  the  same.  When 
you  write  for  it,  please  inform  me  what  branch  of 
the  business  you  are  now  engaged  in.  In  making 
prices,  I  have  endeavored  to  recollect  that  low  prices 
for  good  goods  make  the  best  advertisement  any 
business  man  can  have. 

Hoping  to  hear  from  every  artist  in  the  United 
States  and  Canada  who  has  not  already  received  it, 
I  remain, 

Yours  truly, 

W.  R.  REID, 

Manufacturer,  Importer,  and  Jobber  of  FINE  ART  GOODS  of  ALL  kinds, 

352  &  354  Euclid  Avenue, 


CLEVELAND,  O. 


W,D.  GATCHEL  &  CO,, 

LOUISVILLE,  KY. 


fil-r-tioCcd  -r-ec|  i  ( i  z  c  & 

both  regular  workers  and  amateurs.  Having  largely  increased 
our  stock  and  facilities,  we  offer  inducements  that  can  not  be 
excelled.     We  have  supplied  the  West  and  South  for  the  past 

TWELVE  YEARS, 

and  can  furnish  just  what  is  wanted.     We  will  supply 

The  BEST  GOODS, 

With  HONEST  LABELS, 

At  the  LOWEST  PRICES, 

and  deduct  three  per  cent,  for  cash  on  all  bills  of  $10  oo  and 
upward. 

$ei)d  fof  Pfic'e-I^t. 

W.  D.  Gatchel  &  Co., 

309  W.  Jefferson  St.,  LOUISVILLE,  KY. 


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3i>737 


square  feet  of  Store  room. 


Send  for  my  late  Catalogues. 


PA.      PITTSBURGH,  PA. 


JOHN  I.  SHAW, 

Successor  to  y.   W.  Morrison , 
Manufacturer  and  Dealer  In 

Photographic  Materials, 

Cameras,  etc.,  etc., 

N os.  10  &  12  Sixth  Street, 

PITTSBURGH,  PA. 


Mouldings,  Albums, 

Oval,  Square  and  Arch  Top  Frames, 

Velvet  and  Combination  Frames. 


Photographic  Dry  Plates  and  Outfits  for  Amateurs 
and  Professionals. 


Everything  required  in  the  practice  of 
Photography  in  all  its  forms. 


JOHN  I.  SHAW,  Pittsburgh,  Pa. 


MILWAUKEE. 


GUST  A  V  US  BODE, 


NORTHWESTERN  PHOTOGRAPHIC  WAREHOUSE 


Photographic  Goods 


Apparatus,  Chemicals,  Glass, 
Albumenized  Papers, 

Frames,  Albums, 
Views,  &c. 


English,  German  and  American  Oil  Colors,  and  all 
Materials  used  in  the  fine  Arts. 


Nitrate  of  Silver  and  Chloride  of  Gold  made  for  photographic 
purposes.    Gold  and  Silver  Wastes  refined.  Returns 
made  within  two  weeks.    Satisfaction  guaranteed. 


and  Chemical  Laboratory, 

11  Spring  St.,  Milwaukee,  Wis. 


A  FULL  LINE  OF 


 EMBRACING  


SEND  FOR  PRICE-LIST. 


CAEBUTT'S 


 Guaranteed  Perfect.  

J.  C.  B.  The  most  sensitive  and  reliable  Dry  Plate  in  the  mar- 
ket for  quick  exposures  in  the  Gallery,  and  Outdoor  Instan- 
taneous Views  ;  1 5  times  wet  plate  rapidity. 

B.  A.  Universally  reliable  plate  for  either  Gallery  or  Land- 
scape work  ;  6  times  wet  plate  rapidity. 

A.  Suitable  for  Transparencies  and  Landscapes;  twice  the 
rapidity  of  wet  plates. 

Prices  reduced  and  Quality  Improved.    For  Sale  by  all  Dealers. 


Light  in  the  Dark  Room.   Save  your  Eyesight. 


I  Carbutt's  Multum  in  Parvo  Dry 
Plate  Lantern. 

(Patented  April  25th,  1882.) 

Send  for  Illustrated  Circular,  together  with  Recipe  how  to 
recover  cost  of  Lantern  and  more  in  one  day.  Price  $6  00, 
boxed  ready  for  shipment.  Can  be  ordered  direct  from  the 
manufacturer,  or  through  your  dealer. 

Address  JOHN  CAKBUTT,  628  &  630  Chestnut  St., 

PHILADELPHIA,  PA. 


Mullett  Bros,, 

IN 

ALL  GOODS  REQUIRED  BY 

Photographers,  Ferrotypers, 

—  AND — 

ARTISTS  IN  ALL  BRANCHES. 
RECOLLECT 

That  we  are  the  nearest  to  the  Western  Trade,  and  with  all 
the  other  advantages,  which  those  who  favor  us  with  their 
orders  know  well  without  our  enumerating  them. 

— sls/s  We  f^eque^t  ?W>— 
All  of  your  trade,  or  as  much  as  you  can. 


SEND 

for  our  Tivo  Large  Complete  Illustrated  <Price 
Lists,  and  your^  orders  will  be 
sure  to  follow. 

Mullett  Bros.  Kansas  City,  Mo. 


•XijunoD  9q;  jo  S}JEd  \\v  uiojj  jidijos  9a\  qoiijAV 


HSINHVA 

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'Noiaonoo 
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9Mi)0D>/nMmu  .1110  Jo  89WD&j£  frvnQ&hl  p9av.iihi3; 


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'SOHa  N3T1V 


Benj.  French  &  Co., 

3/9  WASHINGTON  STREET, 

BOSTON. 


Sole  Agents  in  the  United  States  for  the  Celebrated 

Voigtlander  &  Son 

ffortmit  Reuses, 

— AND  THE— 

O  N  D  E  I\F  UL     Eu  I^Y  SCOPE. 


TRY  THEM.  ' 

Darlot's  S  ™  Lenses 


All  Genuine  Darlots  have  B.  F.  &  Co. 
engraved  on  Tube. 

Illustrated  Catalogue  Sent  on  Application. 


Will  no  doubt  soon  be  published  as  a  companion  work  to  "  The  Studios 
of  Europe" — when  it  will  be  written  down  that  the 

GRANDEST  AND  MOST  PERFECT 

Hffohgr^hic        avium  mid  ^india  in  thq  $$orld 

Is  located  in  BALTIMORE,  MD. 
No.  205  West  Baltimore  Street, 

RICHARD    WALZL,  Proprietor, 


This  new  establishment  occupies  premises  costing  $200,000  00  and  its 
outfit  cost  $25,000  00.  It  is  a  model  throughout,  and  has  been  especially 
fitted  for  the  successful  manipulation  of  the  now 

}Wof^ld  Renowned  Jnstantaneous  ^f^ocess. 

THE  STOCK  EMPORIUM  is  not  surpassed  by  any  other  on  this  Continent. 

A  complete  history  of  its  origin  and  progress — together  with  a  List  of 
all  the  goods  it  supplies  is  set  forth  in  the 

PHOTOGRAPHERS  FRIEND, 

SEVENTH  EDITION. 

(Illustrated  with  Steel  Plate  Portrait  of  the  Proprietor ) 

JUST  OUT.— GRATIS. 


Our  Literary  Works  are  known  the  World  over  as  the 
Most  Practical,  Cheapest  and  Best. 

TUG  Most  Popular  Periodical  or  tlie  times,  is  issued  from  this  estaDlislment. 

Twenty- two  years  successful  conduct* 

Photography  our  fort  (e)  which  we  defend. 


SttaMiofxcb  1865. 


WILSON,  HOOD  &  CO, 


DEALERS  IN 


PHOTO.  GOODS. 

SOLE  AGENTS  FOR 

ROSS  and  STEINHEIL  LENSES. 


Orders  solicited  for  any  of  the  following  makes  of  lenses, 

Voigtlander,  Morrison,  Waterbury, 

Dalltneyer,  Zentmeyer,  Platyscope, 

Peerless,  Harlot,  E.  A.  &  G.  C. 


CAMERA  BOXES  MANUFACTURED  BY 
Am.  Op.  Co.,  Anthony,  S.  Peck  &  Co.  and  Semmendinger. 


CHAIRS  MANUFACTURED  BY 

Knell,  Schindler,  Bowdish  &  Scovill. 


,   HEAD  RESTS. 

Wilson,  and  Spencer. 


ALBUMEN  PAPERS. 

N.  P.  A.,  S.  &  M.,  Morgan's,  Hovey's,  etc, 


DRY  PLATES. 

Carbutt's,  Eastman's,  and  Cramer  &  Norden's. 


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COLLINS'  CARD  STOCK. 

We  keep  the  largest  and  most  complete  stock  in  this  city.  Trial  and  Outfit  Orders 
solicited.    Complete  Price-lists  and  estimates  furnished. 

825  AM  SL     Wilson,  Hood  &  Co.,  PHILADELPHIA 


W.  J.  HAZENSTAB, 

Formerly  406  Market, 

Is  now  Installed  in  New  and  Larger  Quarters,  at 

918  OLIVE  STREET, 

Where  tve  ivill  be  able  to  double  the  orders  formerly 
received  from  our  friends,  patrons  and  strangers. 

All  tkose  visiting  ST.  LOUIS  will  do  well  to  CALL  at  ABOVE  NUMBER. 

WE  COULD  NAME  THIS  THE 

PHOTOGRAPHERS'  BLOCK, 

~**J&  AS  THERE  ARE 

Mr,  A,  J,  Fox  at  916,  and  Mr.  J.  A,  Scholten  at  920  ;  then  to?,  have 
Messrs.  Hurlbut  &  Thorndm%ff,  Mr.  D,  C,  Redington,  Mr, 
D,  B.  Taylor,  and  lately,  Mrs.  J,  H.  FUzglbbon, 

8ll  Opposite  ottf  $tofe. 
 ©  

^THANKS  FOR  PAST  FAVORS^ 

And  hoping  to  be  favored  with  all  orders,  both  large  and  small,  with 
prompt  attention  to  all  that  is  intrusted  to  our  care,  we  are,  as  ever, 

Your  Most  Obedient, 

W.  J.  HAZENSTAB, 

9  8  Olive  St.,  ST.  LOUIS. 


Morgan's 
Albumenized  Paper. 

 =e         ■  : 

^Ive  c^e^vt  £U£4i44tei4  t£apet;  414 


Tones  more  easily,  with  less  gold,  and  keeps 
white  after  silvering  in  hot  weather  longer  than 
any  paper  offered  for  sale. 

Send  for  sample  dozen. 

THOS.  H.  McCOLLIN, 

Trade  .A-gent. 
631  Arch  St.,  PHILADELPHIA. 


— AND— 


Wo.  411  Worth  4th  St.,  ST.  LOUIS,  MO. 


^hatagrdfihic  ^huhimxU^c  of  f§verg  €!c^mptian. 


Prices  are  exceptionally  low,  and  our  gools  always  fresh  and  reliable. 

We  shall  be  pleased  to  serve  you.  Send  for  our  new  illus- 
trated Catalogue,  the  largest  and  most  complete  Photographic 
List  ever  published. 


of  known  reliability  always  on  hand.  The  "Mound  City" 
Brand  being  especially  recommended  for  real  merit.  Ask 
your  dealer  for  them  and  take  no  other. 

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Manufacturing  Chemists  &  Importers, 

194  Worth  St.,    NEW  YORK, 

near  Chatham  Square. 
Guaranteed  Strictly  Pure. 


CROSS  SWORD  DRESDEN 

ALBUMEN  P  APER, 

SAXE  EVAPORATING  DISHES, 
SOLID  GLASS  BATHS, 
USENER'S  PORTRAIT  LENSES. 

Refining  of  Photographic  Wastes  and  Residues 
a  Specialty. 


yj  O  PVK  S    AT    J^EWAF^K,   |^  .  jl , 


11 


1878.    A  ,  N    K  M\M  1 


No.  250  MERCER  ST., 

Bet.  3rd  &  4th  Sis.,  One  block  wesl  of  B'wav. 


Having  now  (Removed  to  the  above  location, 
and  Stock  fully  arranged,  I  am  prepared  to  fill 
all  orders  promptly  and  at  bottom  prices. 

Ml  Jans  olj  Jtutft}  l|mfl  of  J\nh- 
tjntjpfytt  daubs, 

WET  and  DRY. 


George  Murphy, 

250  Mercer  St., 

NEW  -    -  YORK. 


THE  OLD  RELIABLE  ! 


P.  SMITH  &  CO., 

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Cincinnati,  Ohio. 

AND 

BRANCH  AT 
NO.  6  EAST  BROAD  STREET, 

COLUMBUS,  OHIO. 

WHERE 

The  Amateur  and  the 

Professional  Photographer 

WILL  FIND  EVERYTHING 

Requisite  for  either  the  WET  or  the  DEY  PLATE 
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TEXAS  HEAD-QUARTERS 


FOR 


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Galveston,  Texas. 


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AND  REQUISITES. 

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Send  for  Catalogue  and  Price-Lists. 


Wilson's  Photographic  Publications. 


The  Philadelphia  Photographer. — A  monthly  magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5  00  a  year  ;  $2  50  for  six  months.  Stands  ahead  of  all  its 
kindred.  Seventeen  years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the 
practical,  working,  growing  photographer.  Do  not  go  without  its  valuable  help.  Send 
for  circular  and  sample  copy. 

The  Practical  Printer.— By  C.  W.  Hearn.  Price,  $2  50.  Second  edition  now 
ready.  This  is  a  most  handy  and  reliable  book.  It  goes  into  all  the  operations  of  plain 
and  fancy  silver  printing,  and  is  Jull  of  good. 

Photographers'  Pocket  Reference  Book.— By  Dr.  H.  Vogel.  Price,  $1  50. 
For  the  dark  room.  It  meets  a  want  filled  by  no  other  book.  Full  of  formula— short, 
practical,  and  plain. 

The  Perrotypers'  Guide.— Price,  75  cents.  Cheap  and  complete.  For  the  Fer- 
rotyper  this  is  the  only  standard  work.    Seventh  thousand. 

Pictorial  Effect  in  Photography.— By  H.  P.  Robinson.  For  the  Art  Pho- 
tographer.   Cloth,  $1  50.    Paper  cover,  $1  00. 

Wilson's  Lantern  Journeys.  —  By  Edward  L.  Wilson.  In  two  volumes. 
Price,  $2  00  per  volume.  For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  enter- 
taining style  of  about  2,000  places  and  things,  including  300  of  the  Centennial  and  Paris 
Exhibitions. 

Big*elow's  Artistic  Photography.— Price  reduced  to  $4  00.  For  the  lover 
of  art.  Beats  his  "  Album  of  Lighting  and  Posing."  Superb  !  With  twelve  photo- 
graphs and  instructions. 

Burnet's  Hints  on  Composition.— Price  $3  50.  All  should  study  it.  A 
splendid  work,  largely  illustrated,  giving  all  the  rules  and  principles  of  artistic  posing. 

Studies  in  Artistic  Printing1.— By  C.  W.  Hearn.  Price  $3  50.  Embellished 
with  six  fire  cabinet  and  promenade  portrait  studies. 

The  Photographic  Colorists'  Guide.— By  John  L.  Gihon.  Cloth  bound, 
$  1  50.    The  newest  and  best  work  on  painting  photographs. 

Photographic  Mosaics.— 144  pages  practical  matter.    Price  50  cents. 


"WIL SON'S  PHOTOG-RAPHICS. 

Just  Published,  A  HEW  PHOTOGRAPHIC  LESSON-BOOK,  by  E.  L.  WilSOll. 

The  author  believes  it  to  be  the  best  effort  he  has  ever  made,  and  begs  to  call  attention 
to  its  peculiar  advantages  as  a 

Standard  JBoolc  for  all  Worhers  in  Photography. 

Lesson  A.  Treatment  of  the  Subject— B.  The  Needful  Apparatus— C.  The  Objective 
or  Lens — D.  The  Dark  Room — E.  Preparation  of  the  Glass — F.  Chemicals  and  Solu- 
tions— G.  The  Manipulations — H.  Manipulatory  Miseries — I.  Retouching  the  Negative 
— J.  The  Glass  Studio — K.  Accessories  and  Light — L.  Managing  the  Model — M.  Print- 
ing on  Albumen  Paper— N.  Printing  on  Plain  Paper— O.  General  Remarks  on  Printing 
—P.  Printing  on  Various  Surfaces— Q.  Printing  Perplexities— R.  Art  in  Printing— S. 
Mounting  and  Finishing — T.  Photography  Outside  —  U.  Bromo-Gelatine  Emulsion 
Work — V.  Vogel's  Collodion  EmuUion— W.  Enlargements  and  Lantern  Slides — X. 
Phototypes,  Platinotypes,  and  Collodion  Transfer?— Y.  Wastes  and  Their  Worth— Z. 
Metrical  Measuring,  etc. — Concluding  Confab — Index  (six  pages  ) 

The  index  added  is  very  full,*and  will  enable  the  reader  to  quickly  find  almost  any  sub- 
ject needed  on  every  practical  department  of  the  art. 

It  is  believed  that  this  is  the  most  valuable  work  ever  offered  to  the  working  photogra- 
pher.   It  contains  352  pages.    More  than  100  illustrations. 

Processes,  Old  and  New,  Public  and  Secret 

Among  the  latter  are  the  "Phototype,"  sometimes  called  the  "Artotype"  process, 
with  examples  ;  many  of  the  "Lightning"  processes  ;  the  "  Platinotype  "  process  ;  the 
'*  Collodion  Transfer  "  or  "  Megatype"  process,  and  many  others. 

$4  OO.         POST-PAID.         $4  OO. 

For  the  beginner,  for  the  amateur,  for  the  photographic  worker,  it  is  believed  to  be 
most  complete.  No  live  photographer  should  fail  to  get  it  soon,  before  his  neighbor  is 
ahead.    For  other  points  see  advertisements.    An  index  of  the  work  sent  free. 

Edward  1.  Wilson,  Autnor  and  Miisner,  912  &  914  Chestnut  St,  PMla.,  Pa. 


WOLF  &  CHEYNEY, 

821  FILBERT  ST., 

PHILADELPHIA. 


Supply  House  for  all 
the  requirements  of 
the  Practical  and  Am- 
ateur Photographer. 


PHILADELPHIA,  PA. 

821  FILBERT  STREET, 

WOLF  &  CHEYNEY, 


DOUGLASS 


Gayton  A.  Douglass. 


Henby  G.  Thompson. 
>Ho  231  STATE  Sr/? 

CHICAGO  fr 

srchanfs  in  all  KaquisiiES  pErlaininn  in  iha 
flri-SciaiiEE  nf  FhBinnraphu, 


THOMPSON 


CATALOG-TIES  FREE,- 

MMtoQvzpnevs'  moumxu  §mxau  of  %nioxmmtm. 

FREE, 


&  GO. 


PHOTOGRAPHERS' 


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jMNE     POLD      ^OI\K      A  ^FECIAL 

ROCHESTER, 

N.  Y. 


T  Y. 


o 

Jt  large  and  elegant  line  of 

in  &old,  Imn^fi,  $Ure  Woods,  etc,  in 
great  uari^ttj  of  ornamentation,  stales  and 
finish* 

Ijauing  competent  designers,  and  fa- 
cilities second  to  none  in  the  country, 
tue  are  enabled  to  constantly  offer  addi- 
tional novelties  for  Artistic  Framing, 

$n  &old,  Bronze,  Berlin  &ilt  and  &old, 
Ebony,  ®ah  and  &old,  Mahogany,  etc, 

Ornamented  Hlottldings  and  Frames 
in  the  white, 

 □ — ; — - — ,  

Rochester,  N.  Y. 


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The  new  and  improved 

Handy  Camera  Stand. 

Made  of  black  walnut,  on  the  simplest  common  sense  principles,  and  more  per- 
fectly polished  than  any  other  stand  in  the  market. 


The  raising  and  lowering  of  the  top  is  accomplished  in  one- fourth  the  time 
required  by  most  other  stands,  and  with  GREATER  EASE.  All 
gratin  g  of  iron  cogs  dispen  sed  with,   I  guarantee  it 
to  give  the  most  perfect  satisfaction. 

Try  it  for  4-4  or  8  x  10  Box,  and  if  not  pleased  with  it  shij>  it  back  at  my  expense. 

PRICE,      -      -      -      -      $15  00. 

MANUFACTURED  BY 

JAMES  H.  SMITH, 

Wholesale  Photo,  Goods,  Frames,  Albums,  etc. 
NO.  20  NORTH  4TH  S  QUINCY,  ILL. 


J.  A.  Anderson, 

MANUFACTURER  OF 


And  Dealer  in  Supplies. 
(>3  &  65  East  Indiana  St., 

CHICAGO,  ILL. 


The  only  Manufacturer  who  furnishes  the 
Celebrated  "  Bonanza  Plate  Holders "  with  his 
First  Quality  Camera  Boxes  without  extra  charge. 

I  have  testimonials  from  the  following  leading 
Artists,  who  recommend  the  "  Bonanza"  as  being 
Superior  to  all  others  : 

SARONY,       New  York. 
A.  BOGARDUS,  " 

J.  J.  MONTGOMERY,  Mora's  Gallery,  New  York. 
J.  LANDY,  Cincinnati,  Ohio. 

LEON  VAN  LOO, 

F.  WYBRANT,  Louisville,  Ky. 
H.  ROCHER,  Chicago,  111. 

W.  H.  RULOFSON,  San  Francisco,  Cal. 

G.  D.  MORSE, 
D.  B.  TAYLOR, 
SILAS  SELLECK, 


PHOTOGRAPHIC  WAREHOUSE. 

/c/  Wet  ** 

Photographers7 
Supplies* 


410  JS&JLI.1<T  ST. 

BUFFALO,  N.  Y. 

DAVID  TUCK  S.  B,  BUTTS 


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DEALER  IN  % 

Photographic  Stock, 


PICTURE  FRAMES, 

MO'ULDINGS,  CHROMOS, 


i  AND  j 


ARTISTS'  MATERIALS. 


GEO.  R.  ANGELL, 

1 58  Woodward  Ave., 

if    DETROIT,  MICH.  ^ 


EASTMAN'S 


e  f  a  t  i  l  to ~q)q)*vo' in  ib& 

Dry  Plates. 


RELIABLE,  RAPID, 
INSTANTANEOUS. 


ALSO  THE 


Tropical  Dry  Plates, 

Can  be  Used  in  any  Climate  and  be  Developed 
and  Washed  with  Hot  Water! 


Eastman's  Gelatino-Bromide  Pellicle, 

For  those  who  wish  to  prepare  their  own  Plates, 

EASTMAN  DRY  PLATE  CO.,  Rochester,  N.  Y. 


E. 1 H.  T.  Anthony  &  Co.,  591  Broaii ay,  New  York. 

SEND  FOR  CIRCULAR,  TRADE  AGENTS, 


ANTHONY'S 

DRY  PLATE  OUTFITS 


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A/osi  Complete  Assortment  in  Market 

Instruction  Book  free  with 
each  Out/it. 


Outfits,  $10  and  upwards. 
Send  for  Illustrated  Price-list. 


2 
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to 

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JVfo  Lenses  supplied  with  these  are  superior  to  those  furnished  by 
Any  other  House.    Send  for  Descriptive  Circular. 

Anthony's  Patent  Perfect  Dry  Plate-holder, 
BEST  IN  THE  WORLD! 

E.  &  H,  T.  ANTHONY  &  CO.  591  B'way,  NEW  YORK. 


J.  C.  SOMERVILLE, 
ST.  LOUIS. 


We  give  SPECIAL  PRICES 

ON 

COMPLETE  OUTFITS. 

THE 

Am.  Opt.  Co.  Apparatus.    Dry  Plate  Outfits 
from  $1000  to  $41  50. 

Sj^BEBE  AND  ^KAMEK  ||  ^ORDEN 
||XATES. 

5  per  cent.  Discount  on  orders  of  $10  00. 


—Send  for  Bargain  List  and  Circulars.— 

1009  Olive  Street. 


St.  £ie6cr.  ESTABLISHED  1854.  £fia5.  «Jioefiue 


H.  Lieber  &  Co's 


%X  Emporium. 


HEADQUARTERS  FOR 


Leading  Brands  of  Dry  Plates 
Kept  in  Stoeh. 


AMATEUR  DRY  PLATE  OUTFITS, 

ALSO, 

ARTISTS'  AND  WAX  MATERIALS, 

PICTURE  FRAMES,  MOULDINGS, 
LOOKING  GLASSES,  ETC. 


Send  for  Catalogues. 

82  E.  Washington  St., 

Indianapolis,  Ind 


The  BEST  is  the  CHEAPEST. 


Dallmeyer  Lenses, 

Success  Cameras, 

Climax  Cameras, 
E.  A.,  6r.  C.  and  Platy scope  Lenses, 
Handy  Head-Rests. 


Genuine  JV.  (P.  A.  &  S.&  M.  Albumen  (Papers, 

With  The  WATER-MARK. 

(Brilliant  Swiss  Albumen  (Papers, 

A.  (D.  Swiss  Albumen  (Papers, 
Hovey's,  Morgan's,  (Peerless,  demons'  &  Hail 
Columbia  Albumen  (Papers. 

In  future  we  shall  be  prepared  to  furnish  the  N.  P.  A,  Extra  BriL 
Albumen  Paper  in  White%  Pink,  Pearl  and  Pense  Tints, 


Chemicals  of  Guaranteed  Purity  and  Strength. 

Every  Requisite  for  the  Studio  and  Field. 

SEND  FOR  ILLUSTRATED  CATALOGUE  AND  PRICE-LIST, 


Tie  most  Extensive  Line  of  Velvet,  Plnsn  and  Ebony  Frames,  Easels,  AlDums,  stereo- 
scopes, Grapioscopes,  Portraits  of  Celebrities,  Stereo.  Views,  etc,  on  this  Continent. 


E.  &  H.  T.  ANTHONY  &  CO., 
591     BROADWAY,  NEW  YORK  CITY.  591 


BASS'  PATEJNT  CLIMAX 

Burnisher. 


Every  known  improvement  has  been  added  to  tbis  ma- 
chine.  Photographers  will  find  that  it  is  the  only 
style  of  machine  that  will  do  the  largest 
work  without  the  loss  of 
a  single  print. 

Reciprocating  roll,  removable  plate,  removable  roll,  every  piece  made  in  exact  dupli- 
;ate.  The  roll  can  be  taken  out  for  draw  filing,  or  it  can  be  by  a  simple  device  raised  to 
i  perpendicular  position.  A  new  roll,  plate  or  any  part  of  the  machine  can  be  had  at  a 
merely  nominal  cost,  and  no  trouble  as  to  fitting,  as  every  piece  is  made  the  same. 

Manufactured  in  the  following  sizes — 6  inch,  9  inch,  10  inch,  14  inch,  18  inch,  24  inch, 
pinch.       PRICES  REDUCED. 

For  Sale  Dy  all  of  the  leading  Photo.  Stock  Dealers  in  this  country  and  in  Europe. 

SOLE  PA  TEX  TEE  AND  MANUFACTURER, 

J.  P.  BASS.        BANGOR.  MAINE. 


Cq 

^  '6 


SataMiafteb,  1874. 

Central  Stock  HoMe. 


MORAN'S  Specialties. 

MORAN 'S  Uollodions,  Negative  and  Positive. 
MORAN'S  Celebrated  Challenge  Varnish. 
MORAN'S  Nitrate  of  Silver,  C.  P. 
MORAN'S  Chloride  of  Gold,  C.  P. 


MORAN'S  MONTHLY  BARGAIN  LIST. 

« DRY  PLATE  Outfits  a  SPECIALTY.  W' 


Lenses,  Camera  Boxes,  Accessories,  etc.,  etc., 
Bought  or  Exchanged. 


SEND  YOUR  ADDRESS  FOR  THE 

Illustrated  Catalogue  of  Prices,  Free  to  All. 


A  TRIAL,  ORDER  SOLICITED. 


231  CENTER  STREET, 

N.  W.  Cor.  Grand  St.,  NEW  YORK  CITY. 


PUBLISHER  OF 


H.  MORAN, 


0 


%  &  S.  T.  Sutlioriy  &  Co., 

591    BROADWAY,  NEW  YORK. 


SOLE  IMPORTERS  OF  THE 

Premium  Dallmeyer  Lenses,  and  Cele- 
brated '-N.  P.  A.  Dresden  9  Albu- 
men Paper. 

MANUFACTURERS  OF  THE 

Unrivalled  Success  Camera  Boxes  and 
Apparatus,  Albums,  Velvet  Frames, 
Stereoscopes,  Lanterns, 
etc.,  etc.,  etc. 


AND  OF 

Anthony 's  Far-famed  Photographic 
Chemicals  and  other  prep- 
arations. 


AGENTS  FOR  THE  Tit  A  UK  OF 

The  Adamantean  Ferro.  Plates  and  the 
Entrehiu  and,  Weston  Burnishers. 


DEALERS  IN 

EVERYTHING-  PERTAINING-  TO  PHOTOGRAPHY. 


American  Albumen  Paper  Co. 


MANUFACTURERS  OF 


BRANDS 


A.  PER 


The  BEST  ALBUMEN  PAPER  of  the  Day. 


IN  DOUBLE  AND  SINGLE. 


WHITE,  BLUE, 
PINK,  or  and 

PEARL.  DEEP  PINK. 


The  above  Brand*  of  Paper  are  SEPARATE  and  DISTINCT  in  their 
Formulas,  and  will  be  Itept  up  to  their  FORMER  STANDARD. 

The  Best  in  the  Market! 

ASK  YOUR  DEALER  FOR  IT. 

A.'  M.  BROWN,  Sec.  &  Manager. 

ROCHESTER,  N.  F. 


GETTY  RESEARCH  INSTITUTE 


3  3125  01063  6617 


